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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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We were instant friends. Then came the Israel question.
There’s one thing these days Jewish publications of all stripes seem to agree about: The Jewish future — geographically, politically, spiritually — is Florida. An article last month in the conservative magazine Tablet pondered whether Miami was “the new Jerusalem,” and left-wing quarterly Jewish Currents made the Sunshine State the theme of an entire 2024 issue.
As a Jewish journalist, inveterate spring breaker and friend of a Florida man with a couch for me to crash on, I wanted to see for myself. So last week, with paid time off burning a hole in my swim trunks, I took my talents to South Beach … and spent essentially no time in the Jewish community at all. (Though I did DoorDash banana bread from Zak The Baker.) But just as Jonah could not outrun his destiny, the Jewish future inevitably found me anyway. This happens when you like talking to random people at bars.
I had spent much of the night getting to know an ebullient pair of strangers, Will and Deanna. (Names changed here.) They are best friends and roommates, two Dallas-born transplants chasing careers in fashion design. Both are gay, and neither is Jewish. But we found common ground when Will told me he is religious. As I told Will, I’ve reported extensively on the experiences of queer Orthodox Jews for the Forward (“a really cool Jewish newspaper”). I spoke of the challenges they face, their resilience and their breakthroughs, and Will spoke about bringing his queerness to his faith.
There was something he needed to ask me, though: Had I been reporting on Jewish people where I’m from, or — he ventured nervously — “Israeli Jews”? I told Will I mostly write about American Jews, but that this Jewish issue transcended borders.
Then the real purpose of the question came out. He volunteered his sense of horror about Gaza and related his shock about the circumstances of Israel’s establishment. What he believed about the history was unclear — it was loud in there, and I couldn’t quite make out his claims — but I could tell: I was being tested.
Yes, this did feel like the Jewish future: one in which any conversation about Judaism will become one about Israel or — and this is how I read the question — your Israeli politics. A future in which Jews everywhere, upon identifying themselves as Jews, are asked (or held) to account for Israel’s actions. And, frankly, a future where it is harder for Jews to make friends with non-Jews.
In another context, or a different mood, I might have been put off by the turn our conversation had taken and quit the interaction. But I liked these two old souls. I said to Will that what has happened in Gaza was terrible; as a journalist, I keep my politics close, but this was sticking to facts. And I saved the looming debate over Israeli history for another time. The three of us went back to enjoying the music and yapping about our dreams and nightmares, and when the lights finally came on at the bar, they invited me to meet them for brunch the next day. I said yes.
Part of me wanted to bring Israel up the next day, but at brunch I couldn’t find a place for it. Yet I found there were lots of opportunities to discuss Judaism. I told them about my grandmother’s recent passing, the dignity of Jewish burial rites and the intensity of shiva. We told stories, laughed, got closer: I learned that Deanna had lived in her car when she first moved to Miami, and Will showed pictures of himself in drag. When the food arrived, this fledgling trio held hands and said something like grace.
A couple hours later, we laid down towels on South Beach. Deanna stayed on the shore as Will and I waded waist-deep into the water. Here was my chance to say something about “Israeli Jews,” or invite him to ask me anything he wanted to know about Israel. But what crossed my mind in the ocean was a mitzvah I often contemplate at the beach. “In Judaism,” I explained, “there’s this practice of ritual immersion…” We never did circle back to Israel.
Florida (particularly South Florida) has come to represent the Jewish future because its Jewish community is ethnically diverse and teeming with young people. (It’s also deeply pro-Israel.) Other features seem predictive of everywhere else: Chabad reigns supreme and religious schools are heavily subsidized. The state is also a kind of extremist incubator — see gubernatorial candidate James Fishback; Florida International University’s antisemitic conservative group chat; or the Miami nightclub that played Kanye West’s “Heil Hitler” for conservative influencers — with Jews a prime subject of obsession.
Meanwhile, American Jews should expect to field uncomfortable questions from strangers about Israel and Gaza for the foreseeable future. It might not be fair, but reality rarely is. All we control — besides the weather, media and global financial system, of course — is our reaction.
The post We were instant friends. Then came the Israel question. appeared first on The Forward.
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Iran Urges Citizens to Spy on One Another as US-Israeli Strikes Cripple Regime
Smoke rises following an explosion, after Israel and the US launched strikes on Iran, in Tehran, Iran, March 3, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Amid relentless US and Israeli airstrikes that have decimated Iran’s military capabilities and key energy facilities, Iran has called on citizens to report on each other in a new push to crush domestic dissent, as talks of a possible ceasefire remain uncertain.
On Thursday, the semi-official Fars News Agency, which is affiliated with Iran’s Islamic Revolutionary Guard Corps (IRGC), called on all Iranian citizens to help “identify those who have turned their backs on the homeland and threaten national security,” warning that “the country is facing external threats and internal betrayals.”
“Iranians will not allow this betrayal to be forgotten,” Fars wrote in a post on X, linking to a website called “Our Memory” to offer a platform for citizens to snoop and inform on each other.
“The efforts of ‘Our Memory’ also carry a clear message to those who might be contemplating betrayal or collaboration with the country’s enemies: The society is vigilant and awake, and actions that pose a threat to national security will be identified and exposed,” Fars posted.
The regime’s latest propaganda campaign of intimidation comes as Israel’s offensive increasingly focuses on dismantling Iran’s internal repression systems, aiming to create a leadership vacuum and logistical breakdown that could hinder Tehran’s ability to respond if mass protests erupt again.
Even amid Israel’s major battlefield advances, however, a senior Israeli security official said Wednesday that Iran still retains the ability to launch missiles at its current rate for the next several weeks, according to Israel’s N12 media outlet.
“Iran can maintain its current rate of missile fire for weeks,” the Israeli official reportedly said in a closed-door briefing. “It has sufficient launchers and reinforced squads to sustain and stagger the attacks over time.”
On Thursday, US President Donald Trump announced he was extending, “at the request of the Iranian government,” the deadline to strike the country’s energy grid by 10 days, as Washington works to bring a possible ceasefire deal to the table.
Should diplomatic efforts falter, the Pentagon and US Central Command are reportedly preparing military plans for a “finishing blow” on Iran, potentially involving some level of ground forces and massive airstrikes.
According to multiple media reports, Washington is considering several options against Iran, including invading or blockading Kharg Island, the country’s main oil export hub, or even seizing Arak Island to secure control over the Strait of Hormuz, a critical passage through which roughly a fifth of the world’s oil supply flows.
Other potential measures include taking Abu Musa and two close islands near the western entrance of the strait or blockading or seizing ships exporting Iranian oil on the eastern side, threatening a vital route for global energy shipments.
Since the start of the war last month, combined US and Israeli strikes have dropped more than 25,000 munitions on targets in Iran, with nearly 15,000 of those carried out by the Israeli Air Force alone, according to updated Israeli intelligence data.
“These numbers are large and significant by any measure,” a senior Israeli military officer told the Hebrew-language news site Walla.
“We are concentrating strikes on the regime’s centers of gravity in Tehran, Isfahan, and other key sites. Iran may be a large country, but hitting the very heart of its infrastructure has a profound strategic impact,” he continued.
He also said the operation, which began with “leadership decapitation” and quickly shifted to paralyzing surface-to-surface and surface-to-air missile arrays, has effectively reduced Iran’s missile firing to low single- or double-digit daily levels, far below its plan of over 100 launches per day.
So far, Israel has destroyed more than 200 launchers, even as mobile units hidden in deep tunnels continue to pose serious obstacles, which are being bombed and blocked since missiles cannot always reach their depths.
Israeli forces have also systematically targeted Iran’s weapons manufacturing, attacking over 1,000 sites to degrade production, development, and research capabilities.
According to a Reuters report, US intelligence can only confirm the destruction of about a third of Iran’s missile arsenal, while another third has likely been damaged, destroyed, or buried in underground bunkers, with a similar situation affecting the regime’s drone capabilities.
While most of Iran’s missiles have been destroyed or rendered inaccessible, Tehran still may retain a significant stockpile and, as of now, could potentially recover some buried or damaged missiles after the current fighting ends.
As the war continues to escalate, Israel has shifted its strategy, with its Air Force last week striking a major natural gas processing facility in southwestern Iran — a move that damaged roughly 40 percent of the country’s gas production capacity.
Facing a gas shortage, the Iranian government was reportedly forced to prioritize fuel for electricity production, sharply cutting civilian fuel allocations and causing major disruptions to transportation and deliveries to Turkey.
“This is just a sample of our ability to crush Iran’s energy backbone,” an Israeli security official told N12.
With the US also threatening strikes on key Iranian energy infrastructure, the Islamist regime is now facing pressure to consider a ceasefire agreement to bring the war to a close.
“The Iranians are in panic,” the Israeli official said. “They understand that further damage [to its energy facilities] will make governing the country impossible.”
In one of the latest blows to the regime, the Israeli Air Force on Friday attacked the heavy water reactor in Arak, central Iran, after Israeli intelligence detected repeated attempts to restore the site — a facility considered key for producing plutonium for nuclear weapons.
Israeli officials also confirmed an attack on Iran’s only facility in Yazd that processes raw materials into starting components for uranium enrichment, as well as multiple steel plants in a major blow to an already devastated Iranain economy.
After these attacks, the IRGC threatened to target six steel plants in retaliation, including sites in Israel, Saudi Arabia, the UAE, Bahrain, Qatar, and Kuwait.
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Man arrested over alleged firebomb plot targeting pro-Palestinian activist Nerdeen Kiswani
(JTA) — A New Jersey man was arrested on Thursday for allegedly plotting to firebomb the home of the prominent pro-Palestinian activist Nerdeen Kiswani.
Alexander Heifler, 26, was arrested by authorities in Hoboken after a weeks-long undercover operation led by the New York City Police Department revealed that he allegedly planned to throw a dozen Molotov cocktails at Kiswani’s residence.
The investigation into Heifler began in early February when Heifler discussed using Molotov cocktails on a group video call that included an undercover law enforcement officer, according to a criminal complaint filed in the U.S. District Court of New Jersey.
He later told the undercover officer that he had planned to flee the country following the attack. (The criminal complaint did not specify the name of the group or the country he planned to flee to.)
During a search of Heifler’s home Thursday night, detectives and FBI agents uncovered eight Molotov cocktails. He has been charged with unlawful possession of firearms and making of destructive devices.
In a statement Friday, New York City Mayor Zohran Mamdani said that Heifler was an alleged member of the Jewish Defense League, a far-right pro-Israel group that the has FBI labeled as a terrorist organization since 2001, and that the country he had planned to flee to was Israel.
“Last night, an alleged member of the Jewish Defense League — designated by the FBI as a ‘known violent extremist organization’ — attempted to blow up the home of Nerdeen Kiswani in a chilling act of political violence and an apparent assassination plot,” the statement read. “The defendant allegedly planned to flee to Israel following the attack. This comes amidst an alarming rise in threats and violence across the country targeting Palestinian human rights advocates.”
“Let me be clear: We will not tolerate violent extremism in our city. No one should face violence for their political beliefs or their advocacy. I am relieved that Nerdeen is safe,” the statement continued.
A police official confirmed that Heifler was a member of a branch of the Jewish Defense League on Friday, according to The New York Times.
Last month, Kiswani, who has long drawn accusations of antisemitism for her rhetoric on Zionists, sued Betar USA, a far-right militant pro-Israel group, accusing the group of violating her civil rights by putting out social media “bounties” on her and repeatedly harassing her. (In January, Betar USA agreed to dissolve its New York operations following a settlement with the state attorney general.)
The activist has also been singled out by far-right Florida Jewish Rep. Randy Fine, who reposted a tweet of Kiswani’s last month to make disparaging remarks about Muslims which sparked calls for his censure.
In a post on X, Kiswani, a Palestinian-American who co-founded the hardline pro-Palestinian group Within Our Lifetime, wrote that she had been informed by the FBI Joint Terrorism Task Force on Thursday night that “a plot against my life that was ‘about to’ take place.”
“For months, Zionist organizations like Betar and politicians like Randy Fine have encouraged violence against my family and me,” Kiswani continued. “I will have more to say as additional details come to light. I will not stop speaking up for the people of Palestine. Thank you for your support.”
In response to The New York Times’ post about the arrest, Betar USA wrote that it was “not surprising if other terrorists targeted her.”
“Violent terrorist Nerdeen Kiswani wants to globalize the intifada not surprising if other terrorists targeted her. Palestinians have always targeted one another,” the group posted on X alongside a video of Kiswani’s rhetoric. “Not surprising given the violent nature of these people who have globalized the intifada.”
The announcement of the arrest drew praise from the Jewish Community Relations Council of New York, which wrote in a post on X that there is “absolutely no place in our city for violence, threats, or attempts to take someone’s life—ever.”
“While we adamantly disagree with Nerdeen Kiswani’s inflammatory rhetoric and her organization’s tactics, we condemn in the strongest possible terms the reported plot against her,” the group said.
Brad Hoylman Sigal, the Jewish Manhattan borough president, also praised the NYPD for the arrest in a post on X.
“Grateful to @NYPDnews for their swift work in preventing this horrific plot against Nerdeen Kiswani,” Sigal wrote. “Political violence, against anyone, for any reason, has no place in our city.”
This article originally appeared on JTA.org.
The post Man arrested over alleged firebomb plot targeting pro-Palestinian activist Nerdeen Kiswani appeared first on The Forward.