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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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How a monument to a Jewish Confederate ended up in a storage unit, next to a vacuum cleaner
Behind an orange roll-up door at a self-storage facility in New Orleans, sits a vacuum cleaner, some lighting gear and a cardboard box.
Inside the box is a Confederate monument, one of the strangest Jewish heirlooms in America.
It is granite, four and a half feet tall, 1,600 pounds and shaped like a thick tombstone. It lies on its side on a crushed wooden pallet because it can no longer stand up. A third of it once sat underground, and when Charlotte, North Carolina, chipped it out of a sidewalk in the summer of 2020, the buried end came out ragged. It carries a few gouges where a protester swung a hammer. Until the city scrubbed it, it also carried three letters in black spray paint: BLM.
“There it sits to this day,” said Kenneth Hoffman, executive director of the Museum of the Southern Jewish Experience, half a mile away in New Orleans, “and possibly will sit forever.”
The stone is one of the last left standing — or, more precisely, lying down — from a century-long campaign in which American Jews built monuments across the South to Judah P. Benjamin, the Confederacy’s Jewish secretary of state, because, for a time, he represented their own acceptance in the South. The monument’s fall tells the story of what changed — not just about Benjamin, but about the Jews who once celebrated him.
Its journey from a Charlotte sidewalk to a New Orleans storage unit involves a Yiddish-speaking ex-convict, the United Daughters of the Confederacy, an antisemitic banker, two Polish-born rabbis, a dollar bill pulled from a stranger’s wallet, and a retired lawyer whose wife descends from the man who once hid Benjamin from the Union Army.
What nobody has figured out is what to do with it.
The brains of the Confederacy
Benjamin was a New Orleans lawyer, a sugar planter who owned 140 enslaved people, and a U.S. senator from Louisiana. When the South seceded, Confederate President Jefferson Davis made Benjamin attorney general, then secretary of war, then secretary of state. The two men worked side by side as much as 10 hours a day. Benjamin’s face was engraved on the Confederate $2 bill, likely the only paper money issued in America to feature a Jewish person.
He was known as “the brains of the Confederacy” — a phrase that started as an insult, the old canard of the Jewish puppet master, a way of pinning the Civil War’s loss on the one Jew in the cabinet. He married a Catholic woman, never joined a synagogue and was not a practicing Jew, but none of that mattered. A senator from Ohio sneered that Benjamin was an “Israelite with Egyptian principles.”
When the Confederacy collapsed, Benjamin ran. He disguised himself as a Frenchman who spoke no English, hid in a Florida swamp and slipped out to sea. He made it to London, reinvented himself as a barrister, and died wealthy and free in Paris in 1884, never having answered for any of his past.
That flight is why there are so few monuments to him. Davis went to prison. The generals surrendered and lived out their lives in the South. Benjamin escaped and never came back.
“Some considered Judah Benjamin a kind of traitor,” said Jonathan Sarna, the noted Brandeis University historian of American Jewry.
So the Lost Cause never fully claimed him. Southern Jews claimed him instead.
‘Judah P. Benjamin Nite’
The commemoration campaign that followed has been reconstructed largely by David Weinfeld, an assistant professor at Rowan University who is working on a book called Southern Jews and the Lost Cause. It was indifferent to geography.
Jewish war veterans presented a Benjamin portrait to Atlanta Mayor William Hartsfield in 1954 for the city’s collection of “Confederate Heroes and Statesmen.” Weinfeld found that Alabama’s B’nai B’rith opened its 1962 state convention with a dinner-dance called “Judah P. Benjamin Nite,” and offered to fund a monument at the state capitol honoring him as “a son of the Jewish people.”
Alabama didn’t have a strong connection to Benjamin, which was precisely the appeal there. He “provided a means for southern Jews to prove their southernness regardless of what former Confederate state they resided in,” writes Weinfeld.
Sarna puts the calculation more starkly. Jewish safety in the South depended on being counted as white, and Southern Jews understood the alternative.
“Why did they want to be white?” he asked. “Because the alternative was to be Black.”
The stakes weren’t abstract. In the years around those celebrations, synagogues across the South were bombed and set on fire, and rabbis who backed integration were punished for it. “There were people whose response was, ‘If we want to continue to be here in the South, this is the price we have to pay,’” Sarna said.
It was a bargain, mostly unspoken: stay loyal to the white South and you will be well treated. Many Southern Jews upheld their end of it. Plenty, Sarna said, “had prejudices not different from those of their non-Jewish counterparts.”
The United Daughters of the Confederacy embraced Benjamin right back. “They understood that celebrating a Jew made the Confederacy look tolerant,” Weinfeld told a room of scholars at the American Jewish Historical Society’s conference this June in Cleveland.
The Daughters chartered a Judah P. Benjamin chapter in Bradenton, Florida, in 1914, and after World War I began sponsoring Benjamin markers across the South.
In 1924, the Daughters bought Belle Chasse, Benjamin’s old Louisiana plantation, and a New Orleans rabbi spoke at the dedication, consecrating the house to “the impulse of patriotism.” The next year they bought the Gamble Plantation in Ellenton, Florida, where Benjamin is said to have hidden from Union troops, and gave it to the state. It remains a state park officially named the Judah P. Benjamin Confederate Memorial. With B’nai B’rith’s support, the UDC raised a monument in Sarasota in 1942 — pink Georgia marble, crowned with a bronze sundial — and another in Fayetteville in 1944.
The Sarasota dedication came six weeks after Pearl Harbor, and the Birmingham News found in it a wartime moral. Honoring Benjamin was fitting “especially so right now, when the United States is at war with totalitarian forces whose ringleader, Nazi Germany, proclaims and practices racial and religious intolerance,” the paper wrote. The monument was “in a way a part of the answer of the South, the land of the Confederacy, to Adolf Hitler’s assault upon those freedoms which Southerners and all Americans hold dear.”
It was a memorial to a slaveholding Confederate, offered as the South’s rebuttal to Hitler.
The Charlotte fiasco
In Charlotte, the arrangement broke down in public.
According to Weinfeld’s extensive research, the local UDC chapter was preparing to host the 1948 state convention and wanted a marker for the spot where Benjamin sheltered for a week in April 1865, in the home of a Jewish merchant named Abraham Weill. The chapter’s historian, Josephine Yarbrough, needed money. She wrote to Harry Golden.
Weinfeld has traced what happened next through Golden’s own account and contemporaneous records.
Golden was about the least Confederate man in North Carolina. Born in what is now Ukraine, raised on the Lower East Side, he had served federal prison time for mail fraud before reinventing himself in Charlotte as publisher of the one-man newspaper the Carolina Israelite.
Golden would go on to become a best-selling humorist and an ally of Martin Luther King Jr. during the civil rights movement. But in 1948, he called Benjamin “one of the greatest Jews America has ever produced.” He signed up the city’s two synagogues, Temple Israel and Temple Beth El, which agreed to buy the granite and present it to the Daughters as a gift.
Then came the letter.
A non-Jewish New York banker with Charlotte in-laws warned UDC members across the state that the Daughters were being used for Jewish propaganda. Charlotte’s so-called good Jews, he wrote, were “good only because they are as yet unrevealed.”
That was all it took. The local Daughters voted to yank their name off the stone, then went to the city council to stop the marker from being erected. They argued it would block passengers boarding city buses. The state and national organizations overruled them, and both synagogues voted to press on.
On Oct. 1, 1948, police blocked off South Tryon Street for the unveiling. The mayor came. A Presbyterian minister delivered the keynote. And the Jewish blessings came from two rabbis — Aaron Tofield of Temple Israel and Philip Frankel of Temple Beth El — both born in Poland. Three years after the Holocaust ended, two immigrant rabbis from the old country stood on a Southern sidewalk and consecrated a monument to the Confederacy.
Hidden in plain sight
The stone did what stones do. It stood there.
Charlotte changed around it — the streetcars, then the skyscrapers, then the FedEx store it eventually fronted. The inscription was right there for anyone who bothered to crouch down and read it. You could ship a package, grab a coffee and walk right past a monument to the Confederate secretary of state.
Charlotte’s Jewish community never forgot, exactly. During her years in Beth El’s pulpit, which ran from 1998 to 2016, Rabbi Judith Schindler used the marker to teach the congregation’s teenagers about Jews in the Confederacy.
In August 2017, white supremacists marched in Charlottesville, Virginia, to protest the planned removal of a statue of Confederate General Robert E. Lee, and a counterprotester was killed. Soon after, Beth El’s board voted unanimously to push Charlotte to move the marker somewhere else — or find some other use for it. The answer was the same every time: North Carolina law barred removing Confederate monuments unless they were relocated somewhere equally prominent.
Then, in June 2020, artists painted a “Black Lives Matter” street mural along South Tryon, directly in front of the stone. The monument looked out over the M in “Matter.”
Days later, somebody spray-painted “BLM” across most of the granite and went at it with a hammer. The granite mostly won. “They probably whacked at it several times,” Hoffman said, “and it really only took out a few chips.”
On June 17 of that year, Temple Israel and Temple Beth El — the same two congregations that had paid for the stone in 1948 — wrote to Charlotte’s mayor, city council and city manager. This time, they demanded the monument be removed.
“We should neither celebrate the Confederacy nor honor the legacy of white supremacy,” they wrote. “The monument does not belong in a place of prominence within our city, just like German cities do not memorialize or erect statues to Nazis.”
A week later, Schindler and Mike Wirth, an artist in her congregation, placed a vinyl wraparound banner over the monument. On it was a quote from Emma Lazarus: “Until we are all free, we are none of us free.”
City workers then pried the monument out of the sidewalk, “sort of to the relief of everyone,” Hoffman said. The city scrubbed off the spray paint, declared the marker damaged and put it in municipal storage.
Then, hundreds of miles away and north of the Mason-Dixon line, a retired lawyer read a book.
The dollar
Barrett Freedlander was reading a biography of Judah Benjamin when he hit a half-page passage about a monument in Charlotte. He was shocked. He was also, he realized, related to the story.
Freedlander, 84, is a retired Baltimore attorney. His wife, Laura, is the great-great-granddaughter of Abraham Weill — the merchant who sheltered Benjamin, and whose name is misspelled “Abram Weil” on the stone.
“The only reason I cared about it,” he said, “is because of the family connection.”
That connection runs deeper than Benjamin. Richmond was days from falling. Confederate President Davis, worried about the “disorganized bands of troops roving about the country,” put his wife and their four children on a southbound train — and handed her a pistol and “showed me how to load, aim and fire it,” Varina Davis wrote.
When they arrived in Charlotte, the rented house was packed up and nobody in town would help a family everyone assumed would be arrested.
Except one man.
“The agent, Mr. A. Weill, an Israelite, came to meet us there and gave us every assistance in his power,” Varina wrote in her memoir, “and when he found there were no conveniences for cooking, he sent our meals from his own house for several days, refusing, with many cordial words, any offer to reimburse him.”
Freedlander thinks he knows why the Confederate first lady reached for the word “Israelite,” and why a Jewish merchant was the only person in Charlotte willing to take in a family the rest of the city was shunning. “Only the persecuted would appreciate her issues,” he said.
The Weills prospered. Weill helped found the synagogue in Wilmington, North Carolina, where relatives still belong. His granddaughter Laura married Julius Cone, a Greensboro textile tycoon. The family fortune allowed sisters Claribel and Etta Cone to buy the Matisses and Picassos that are the crown of the Baltimore Museum of Art.
So when Freedlander learned the marker had disappeared into municipal storage, he started making calls. A staffer in the mayor’s office said the city had no use for it and was willing to let it go. But the manager of the warehouse where it sat called Freedlander back with a complication: the city couldn’t simply hand over public property. He was obligated to charge for it.
“How much?” Freedlander asked. One dollar. Freedlander offered to send a check. The man said not to bother and paid it himself, out of his own wallet.
Freedlander’s original idea was to put the monument in his own backyard. “My wife didn’t want it,” he said.
A friend mentioned the new Museum of the Southern Jewish Experience in New Orleans. Another friend of Freedlander’s, a Baltimore executive whose company hauls computer equipment around the country, priced out the job, got into four figures, then called back and said he’d do it for free. It was history, he said.
Monument vs. museum
The stone arrived in New Orleans via truck in November 2022. It was lowered onto the pavement outside the Museum of the Southern Jewish Experience’s offsite storage with a jack lift, and has not moved since.
Hoffman’s first instinct had been to display it. The stone, he realized, tells three tales at once: the Civil War, when Benjamin rose to the Confederate cabinet; 1948, when the two Charlotte synagogues paid for a monument to him; and 2020, when it was defaced during the summer of Black Lives Matter protests.
Last October, when the Southern Jewish Historical Society held its conference in New Orleans, Hoffman and Weinfeld convened a roundtable of historians to figure out what to do with the monument. One idea floated that seemed to gain consensus was to display the marker alongside a light projection restoring the graffiti.
For now, the monument remains in storage. Hoffman said that if and when it goes up, it will be “with its full context. Not like it’s a historical marker.”
Samantha Baskind, an art historian at Cleveland State University, thinks the museum should not wait to display it.
“Yes, originally the statue commemorates Benjamin as a distinguished Jewish American and Confederate statesman,” she said. “But the fact that it was defaced during Black Lives Matter protests makes it acquire a second history. The graffiti isn’t merely vandalism in a conventional sense. It documents a moment when Americans were publicly reevaluating Confederate symbols.”
Which means the object now holds a double meaning: why Benjamin was honored in the 20th century, and why so many people rejected that honor in the 21st.
Baskind knows firsthand the cost of institutional flinching. In 2022, she curated an exhibition of 19th-century Jewish American artists for a gallery at Princeton, including work by Moses Jacob Ezekiel, a Jewish sculptor who spent part of his career producing Confederate monuments. Baskind, who wrote a book about Ezekiel, had written labels confronting Ezekiel’s Lost Cause loyalties head-on. Late in the process, the venue that was planning on showing the exhibition canceled it.
“It was almost devaluing what your students are capable of thinking about,” Baskind said. “And isn’t that what we do in an educational environment?”
Her verdict on the Charlotte stone is unambiguous. The city should never have cleaned it. “I wouldn’t see it as damage. It’s part of the object’s history.” The graffiti “deserves interpretation and not concealment.”
And the question a museum ought to ask, she said, isn’t whether Benjamin was good or bad. “The more interesting question is: Why did different generations understand him so differently?”
Early in the 20th century, American Jews saw a success story. Today most see a man who helped run a slaveholding rebellion that waged war on other states. “Neither perspective should replace the other,” Baskind said. “A museum explains how and when those shifts occurred.”
Then she offered the distinction she believes the argument comes down to. “A monument exists to honor,” she said. “A museum or gallery exists to explain.”
Visitors to the Museum of the Southern Jewish Experience can still find Judah Benjamin there. He’s in a display case in an exhibit about Jews, slavery and the Civil War: two Confederate $2 bills bearing his portrait, one from 1862, one from 1864. Both are blank on the back.
“Which tells you something about the financial solvency of the Confederacy,” Hoffman said. “Save money. Just print it on one side.”
Half a mile away, one of the last monuments American Jews built to the highest-ranking Jew in the Confederacy, and to the standing he seemed to promise them, lies in a cardboard box in the dark, its graffiti scrubbed, its chips intact, waiting for somebody to decide what it means.
Freedlander hopes to take a trip to Wilmington later this month with some of his grandchildren to visit family graves — including that of Abraham Weill, the man who helped a fleeing family when nobody else in town would, and got a monument he never asked for.
“I’m a bystander to all this,” Freedlander said. “I’m just the messenger. But I did want to preserve it.”
The post How a monument to a Jewish Confederate ended up in a storage unit, next to a vacuum cleaner appeared first on The Forward.
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Iran appoints AMIA bombing suspect to National Security Council
(JTA) —
For the second time this year, Iran has named a wanted suspect in the 1994 bombing of the AMIA Jewish community center in Buenos Aires to a top security role.
A spokesman for the Islamic Republic’s president, Masoud Pezeshkian, said Monday that Mohsen Rezaei had resigned as an adviser to the supreme leader, Ayatollah Mojtaba Khamenei, and would assume the role of secretary of Iran’s powerful Supreme National Security Council. Rezaei is a former commander of the Islamic Revolutionary Guards Corps.
Rezaei is wanted by Argentina and is subject to an Interpol Red Notice issued at Argentina’s request over his alleged role in the 1994 attack, which killed 85 people and remains the deadliest terrorist attack in Argentina’s history.
Earlier this year, Ahmad Vahidi, another suspect in the AMIA case and also the subject of an Interpol Red Notice, was appointed IRGC commander.
In a landmark ruling in 2024, an Argentine court held Iran and its proxy in Lebanon, Hezbollah, responsible for the bombing, setting the stage for international legal action.
In June 2025, Argentina’s federal judiciary ordered that 10 Iranian and Lebanese suspects accused in connection with the deadly 1994 AMIA bombing be tried in absentia. Rezaei and Vahidi are among them.
The eight other suspects accused by the late AMIA special prosecutor, Alberto Nisman, are: former Iranian Intelligence Minister Ali Fallahijan, former Iranian foreign minister Ali Akbar Velayati, former Iranian ambassador Hadi Soleimanpour, former Iranian cultural attache in Buenos Aires Mohsen Rabbani and former Iranian diplomat Ahmad Reza Asghari, as well as suspected Hezbollah operatives Salman Raouf Salman, Abdallah Salman and Hussein Mounir Mouzannar.
The post Iran appoints AMIA bombing suspect to National Security Council appeared first on The Forward.
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Israel and AIPAC on the ballot in the Minnesota Senate and U.S. House races
(JTA) — A pair of Democratic primaries in Minnesota on Tuesday are among a string of high-profile battles between progressive and moderate candidates, where Israel and the pro-Israel lobby serve as key wedge issues.
The state’s highest-profile race is the U.S. Senate primary between Rep. Angie Craig, who has been endorsed by the pro-Israel lobbying group AIPAC, and Lieutenant Gov. Peggy Flanagan, who says she would reject AIPAC’s money and accuses Israel of committing a genocide.
The most recent data gathered in late July through early August has Craig with a 2-percentage point lead, within the 5.3% margin of error. Another poll, conducted in late July by a group supporting Flanagan, shows her with a 14-point lead. The Democratic nominee, whether it be Flanagan or Craig, is expected to win the general election in November.
The race, and the candidates’ sparring over AIPAC, comes as the lobby and Israel under the leadership of Prime Minister Benjamin Netanyahu have become increasingly unpopular among Democratic voters. Israel is also an issue in the Democratic gubernatorial primary in neighboring Wisconsin taking place on Tuesday.
Flanagan has referred to Craig as “AIPAC’s candidate” in the Senate race, which prompted Craig to distance herself from the group’s spending during a TV debate in June.
“AIPAC has not contributed at all, the PAC, to my Senate campaign,” said Craig, whose wife, Cheryl Greene, is Jewish. “Not one penny.”
Flanagan countered that, while AIPAC itself has not donated to Craig’s campaign, it has held fundraisers for the four-term congresswoman. AIPAC did not respond to a request for comment.
Just last week in Michigan’s Democratic Senate primary, progressive Abdul El-Sayed defeated the moderate Rep. Haley Stevens, whose AIPAC endorsement was the frequent target of opposition attacks.
Flanagan has drawn the support of American Priorities, a pro-Palestinian super PAC that aims to counter AIPAC. The group spent about $54,000 on ads boosting her candidacy, according to FEC filings.
Flanagan’s platform includes blocking offensive weapons sales to Israel — a position that all but seven Senate Democrats voted for in April — and advancing a two-state solution that “allows for a secure Israel and Palestinian self-determination.”
Craig, who also backs a two-state outcome, voted against the recent amendment proposed by Kentucky Rep. Thomas Massie that would have halted $3.3 billion in military aid to Israel.
In a statement explaining her vote, Craig panned Netanyahu and the war in Iran, but wrote that the amendment would endanger Israelis and American troops and allies in the region. After the vote, Flanagan wrote, “A vote to send $3.3 billion of taxpayer money to fund additional weapons of war to Benjamin Netanyahu is unconscionable. Enough.”
Craig has the endorsement of a number of Democrats in Congress and the Senate, including House Minority Leader Hakeem Jeffries. She is also endorsed by lobbying group Democratic Majority for Israel, former Democratic presidential contender Pete Buttigieg, and Minneapolis’ Jewish mayor, Jacob Frey, who rose to national prominence for his response to the deadly results of the deployment of immigrant enforcement officials in his city.
Flanagan has drawn endorsements from a swath of major progressive figures including Vermont Sen. Bernie Sanders, Massachusetts Sen. Elizabeth Warren, and outspoken pro-Palestinian Reps. Ro Khanna of California and Ilhan Omar of Minnesota. Flanagan is also endorsed by the state’s Democratic Party affiliate, the Democratic Farmer Labor Party.
On Sunday Sanders posted on X,”There is a reason why the super PACs and billionaires are flooding Minnesota with $20 million to defeat Peggy Flanagan. Same thing as Michigan. They do not want somebody in the Senate who will stand up for the working class.”
Spending by political action committees affiliated with AIPAC has also come to the fore in the Democratic primary race for the House seat that Craig is vacating.
The most moderate of the three leading candidates is State Sen. Matt Klein, who has expressed support for the U.S.-Israel relationship and is endorsed by DMFI. Last-minute spending by outside groups has sparked accusations that AIPAC is indirectly involved.
“AIPAC is coming after me,” said former Lakeville mayor Matt Little, one of Klein’s opponents, in a video.
Klein’s two opponents — Little and state Rep. Kaela Berg — both accuse Israel of committing a genocide, and have both speculated that AIPAC is behind some of the Klein spending.
Berg supports placing conditions on U.S. aid to Israel and halting weapons sales, and Little says the U.S. must end all military aid and weapons sales to the country. On the policy page of his campaign website, Little refers to Hamas’ Oct. 7 attack as “an act of wanton slaughter against innocent civilians” and says that people should condemn “the anti-Semitism that followed.”
Berg is listed as “primary approved” by the liberal Jewish Middle East advocacy group J Street, while Little has been boosted by American Priorities, which has spent about $64,000 in his favor. He is also endorsed by the DFL and Congressional Progressive Caucus leader Rep. Pramila Jayapal.
The latest polling in the district — conducted at the end of May by a group that favors Klein — found Little leading Klein with a 7-percentage point lead, and Berg trailing by another 3 points. 39 percent of voters were undecided, and Little and Klein were about even after voters received more information about the three candidates.
Craig has declined to endorse any of the candidates to replace her.
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