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American synagogues are closing at a record rate. This retired judge is rescuing their stained glass windows.
CHICAGO — Jerry Orbach moves through the sanctuary of Northbrook Community Synagogue with the practiced eye of a man who’s spent years rescuing pieces of a fading world. The suburban Chicago congregation glows with stained glass saved from shuttered synagogues, their colors reframed along these walls. What began as one man’s mission has turned the space into a living museum — a collage of light and loss.
A large gold Star of David hangs from a chain around Orbach’s neck, catching the light from the windows he’s saved from seven shuls. At 79, the retired judge has made a second career of rescuing what others have left behind: stained glass from synagogues that have closed, merged, or fallen into disrepair.
He isn’t just saving glass; he’s salvaging light — the one thing that never stops traveling.
Each panel is marked by a small plaque: the name of the congregation, the town it once illuminated, the year it died. When the sun hits them just right, color ripples across the walls like ghosts, a chorus of light still singing long after the voices are gone. “A continuation instead of a destruction,” he says, as if arguing a case.
For more than a century, the number of synagogues in America steadily climbed, a reflection of immigration, assimilation, and Jewish ambition. But by the 1990s, that momentum stalled. In the decades that followed, it reversed. There are roughly 20% fewer synagogues today than there were in 1990, according to data gathered by Alanna E. Cooper, a Jewish Studies professor at Case Western Reserve University. For the first time in American history, more synagogues are closing each year than opening.
The walls of Northbrook Community Synagogue now hold what those closures leave behind: fragments of glass salvaged from sanctuaries across the post-industrial Midwest, where factories shuttered and congregations dwindled. Orbach has become a one-man preservation society.
A history in glass
Stained glass has long been a marker of Jewish arrival in America. When immigrant congregations began erecting monumental synagogues in the early 1900s, they built them with arches, domes, and large window apertures. Glass became the medium of belonging.
In cathedrals, stained glass told the stories of saints. In synagogues, it told the story of survival. Early designs depicted the 12 tribes, the days of creation, the Exodus from Egypt. Later came darker panels, fractured blues and reds evoking the Holocaust, followed by bursts of gold and white celebrating the creation of the State of Israel. Across a century of Jewish life, the art evolved into a visual Torah of endurance.
The factories closed. The congregations scattered. But the windows remain: fragile, luminous, still looking for a home.
Orbach leads me into a small elevator, one hand steadying his cane as the doors close. “You’re gonna like this,” he says, as the bell dings and the elevator jolts to a stop.
The basement sprawls beneath the entire building, a hidden warren of storage rooms and concrete corridors. One room is a large gym. Another section is soon to become indoor pickleball courts. But in a far corner, the scene could be straight out of an Indiana Jones movie. This is where Orbach has built something else: a warehouse of memory.
Wooden crates line the walls, some open, others nailed shut. Inside are stained-glass windows that have yet to find a new home — towering panels from Beth Achim synagogue in Southfield, Michigan, each thirteen feet tall and three feet wide. For now, they rest here, waiting for wherever their journey next takes them, like the vessels of a traveling tabernacle.
Orbach lifts his phone, flicking on the flashlight. Dust drifts through the beam. The air smells faintly metallic, like old pews and time. He runs the light along the edge of a crate, tracing the outline of a hidden window.
“I just got these in two weeks ago,” he says, like a shopkeeper showing off new stock. “Seven for the holidays, seven for the days of creation. They’re gorgeous.”
He steps closer to a crate, resting his hand on the wood as if on a headstone. This, he said, is how memory becomes a kind of faith.
The case for light
A son of Chicago, Orbach was born in Humboldt Park to parents who fled pogroms in Eastern Europe — his mother from Ukraine, his father from Poland. When he was eight, the family moved north to Albany Park, then a humming center of Jewish life. He’s stayed close to the city ever since: studying law at Loyola, serving as a prosecutor and alderman, and later, in 1988, taking the bench in Cook County. In time he rose to head the court’s law division in District Two, a job that taught him to listen before ruling. He retired two decades ago, though he now mediates and arbitrates cases — a judge, it seems, never entirely off duty.
A few of Orbach’s earliest rescues were the panels from his childhood synagogue in Albany Park. They once illuminated the sanctuary where he became bar mitzvah, where he was married, where his parents once prayed. Reinstalled now in Northbrook, they’ve since framed his grandchildren’s baby namings. “They sold the building to a church,” he said. “I couldn’t stand the idea of those windows ending up in a dumpster.”
Something shifted. He started calling contractors, preservationists — anyone with a ladder and a conscience. Soon he was showing up at demolition sites, paying crews out of pocket to let him climb the scaffolding and pry the glass from the walls. Once, at Mikro Kadosh Anshei Ticktin, an old Chicago congregation, he and his crew worked through the night, prying the stained glass from the front while a bulldozer tore into the back of the building. “By the end, there was one wall left,” he said. “It was shaking while we got the last window out.”
He talks about the windows the way some people talk about those who once prayed beneath them, as if they still have a pulse. “If you keep the memory of the shuls alive,” he said, “the people in them are alive too.”
From ruin to renewal
Among Orbach’s most prized rescues are a set of stained-glass windows from Saginaw, Michigan — luminous panels manufactured in France and salvaged just before their synagogue was torn down. He brought them to Northbrook several years ago, giving their light a second life.
A few months after Orbach installed the Saginaw windows, Cooper — the scholar who tracks synagogue closures and the fate of their sacred objects — flew in from Cleveland to see them. She’d been studying what happens to the sacred items left behind when synagogues close: Torah scrolls, yahrzeit plaques, arks, pews, memorial lights. But the stained glass, she said, posed the hardest questions.
Stained-glass windows don’t have a sacred status like a Torah scroll or even the building itself. They carry a different kind of holiness. “I’ve heard many congregations describe their windows as the soul of their congregation,” Cooper said.
She found in Orbach what her fieldwork had only theorized. “He’s creating an afterlife for these windows,” she said at a dedication ceremony at Northbrook, where they both spoke.
Standing before the crowd that day, Cooper described the scene she’d witnessed when windows were removed from Ahavath Israel in Kingston, New York, which Orbach also rescued and relocated to Northbrook. Cooper recalled workmen carrying the panels to their crates as the last members of the congregation looked on. “As they lowered the windows into the boxes,” she said, “it felt like a burial.”
Now she gestured toward the sanctuary, the glass alive with color once more. “And this,” she said, “is the afterlife.”
In his own sanctuary
Orbach has one more thing to show me, in his two-story home on a quiet suburban street. Rusty, his six-year-old rescue mutt, bounds to the door. His wife, Noreen, waves from the hallway.
The foyer is lined with photos of his two daughters and their families. Hanging above the entryway are two stained-glass windows he salvaged years ago from a shuttered synagogue in Lakeview, Illinois, where he used to go for minyan. The site is now condos.
“In my own way, this is how I keep those shuls alive,” he says, glancing up at the glass.
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Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening
(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.
Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.
Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.
“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.
In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.
Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.
The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.
Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”
Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.
This article originally appeared on JTA.org.
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In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different
In the final, tumultuous years of the Weimar Republic, a succession of arch-conservative chancellors ruled by emergency decree rather than go through the Reichstag, the German parliament. Germany had become a democracy in name only, as reactionary power brokers steered the nation deeper into totalitarian waters, ultimately opening the door for Hitler.
As we approach our mid-term elections, America too is at a pivot point — with the burning question being whether Donald Trump’s grip on MAGA lawmakers can be broken so that Congress, feckless like the Reichstag of the late Weimar Republic, can resume its constitutional role as a check on the executive.
It’s a matter of life or death for American democracy as it nears its 250th birthday.
As Trump’s poll numbers tank while GOP lawmakers’ support for him endures, I find myself musing about the Weimar Republic and the self-immolation of its national legislature.
In the final months before they came to power on Jan. 30, 1933, Hitler and the Nazis were actually on the ropes. After they had become the largest party in the Reichstag in July elections a year earlier, two million Germans abandoned the Nazis in an election that November. Many Germans were less enamored of the Nazi leader, fatigued by a sense that the Nazis thrived on disorder. The spell seemed to be breaking. Does this ring a bell? Economics also played a role: Germany was finally emerging from the Great Depression.
But the German republic had already been brought to a breaking point by street fighting, political chaos, the Great Depression, and a coterie of arch-conservative power brokers who schemed and maneuvered to scrap Germany’s first democracy. They included Chancellor Franz von Papen.
Papen was unable to form a majority coalition after the July 1932 election because of huge gains by the Nazis and losses by other key parties, so he continued to govern by emergency decree with the consent of President Paul von Hindenburg, relying on the broad emergency powers of Article 48 of the constitution that had already hollowed out parliamentary rule.
More internal scheming resulted in Papen’s ouster after the November 1932 election. He was replaced by General Kurt von Schleicher, a master of intrigue. But Schleicher lasted only two months, as disagreements raged over whether to give Hitler a role in the government, and what that role should be. The reactionary schemers eventually reached a consensus: Let Hitler have the chancellorship but keep him in check by loading the cabinet with archconservatives like Papen. Once Hitler became chancellor on Jan. 30, 1933, it didn’t take him long to outmaneuver all of the other schemers, who became puppets of the Nazi leader instead of the puppet masters.
Germany’s political establishment — all but the Social Democrats and the banned Communists — ceremoniously handed the keys over to Hitler on March 23, 1933, when the Reichstag passed the Enabling Act, dismantling parliamentary democracy and giving Hitler dictatorial powers.
Which brings us to the question: Whither American democracy?
Under Trump, our Congress has been reduced to a shell of its former self, an American analog of the toothless Reichstag. As Trump has launched assault after assault on the pillars of American democracy — on the judiciary, on higher education, on free speech, our election system, the rule of law, and even on unflattering but true chapters in American history — Republicans have kept quiet, fearing Trump’s wrath and retribution.
But now there are glimmers of hope. Trump’s broken promises, self-aggrandizement, megalomania, corruption, utter indifference to everyday Americans’ economic suffering, and relentless catering to the country’s wealthiest are finally catching up with him. New polls put his approval rating at a dismal 37%. In a New York Times/Siena poll, just 28% of voters approved of how Trump is handling the cost of living, while only 31% approved of his war with Iran. Even Fox News had him at 39% approval. That same poll showed GOP support for Trump weakening considerably on his handling of the economy.
Economic pain is driving the collapse. The soaring costs of the war in Iran, Trump’s vanity projects, and his proposed $1.8 billion slush fund for the Jan. 6 insurrectionists, coupled with his push for lifetime immunity for himself and his family to commit tax fraud, have incensed voters who are already struggling to afford groceries, gas, housing and health care.
As Americans make impossible choices, the 47th president touts the glitzy White House ballroom he wants to build and his plans for an arch that would dwarf the Arc de Triomphe, all while prosecuting a war that has closed the Strait of Hormuz and driven up prices worldwide. The widening gap between Trump’s self-indulgence and the country’s hardship is finally producing something late Weimar never managed: a meaningful break in the habit of submission to an aspiring strongman.
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This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7.
Sid Klein has finally found his subject. More than half a century after he scrambled to pick a topic for his senior art project at Brooklyn College—and settled on exploring the porcelain curves of a toilet bowl in a 20-painting series—he’s discovered a purpose.
Klein, 78, took a five-decade hiatus from art between college graduation and retirement. He picked his brushes back up just a few months before the events of Oct. 7.
Upon hearing of the Hamas attacks, Klein processed the news with acrylics. Soon, he began looking back to the Holocaust. He felt compelled to render contemporary and historical victims of hatred on paper and ultimately take on the mantle of combatting antisemitism, not with words or weapons but with images.
“For the first time in my life, I’m so motivated in my art,” Klein told me over Zoom from his home in South Florida. “All of a sudden I went from, ‘I don’t know what I want to paint,’ to, ‘I’ve got to make a record of this so people can look at these paintings and see what does antisemitism naturally lead to.’”
Born and raised in Brooklyn, Klein noticed at a young age that he could depict objects in three dimensions. “I started drawing with Crayola crayons with paper that my mom would pick up [at] the local five and dime,” he said.
But his mother died when he was seven, leaving his father to raise three children on his own. Though they weren’t particularly religious, Klein said, he attended yeshiva. The extra-long school day helped his working single father make sure he was safe. Klein continued dabbling in art through elementary and high school.
The Holocaust was not part of his education, as far as he remembers, not at the yeshiva and not later in college, where he flitted from pre-law to economics to philosophy before settling on fine art. “I’d never been exposed to it,” he said. “I’d never seen the photographs. I consciously avoided the photographs.”
“I was living in this bubble so I could pretend that antisemitism did not exist,” he said.
He remained in that bubble through business school and a long career in marketing. During that time, “painting didn’t even cross my mind,” Klein said. “For 55 years, I focused on the business and totally ignored the art.”
It wasn’t until his career drew to a close that he thought he might try again. “I wanted to give it a try and see what was left,” he said. But he wanted to keep painting only if he had a worthy subject, which he found in the wake of the Hamas attacks.
“That murder affected me in a profound way,” said Klein, who has two sons and five grandchildren living in Israel. “I started painting in my mind what these 1,200 people would have looked like. And that was my return to art.”
The segue from the horrors of Oct. 7 to those of the Holocaust felt natural to Klein. “For me, all of those are one of the same. They’re all Jew hatred at different times in history,” he said. “The amount of evil in our world is just—I don’t know how to measure it.” There are endless tragedies, he said, “but I’m focusing on our people.”
Klein paints in a corner of the family room he’s designated as his studio. He regularly pores over hundreds of black-and-white photos taken in ghettos and camps, looking for his next subjects to call out to him.
In one photograph, he recalled, he saw lines upon lines of women and children, standing near cattle cars, waiting, exhausted. He distilled the scene to one row of imminent victims in “Innocents.” They’re “going to be taken to a gas chamber and they’re going to be dead in 20 minutes or a half hour, and they don’t know that,” he said. On the right, a boy tugs at his mother’s coat. The woman on the far left balances the small child in her arms alongside her pregnant belly. In the middle, another grasps a toddler’s hand. Their eyes implore the viewer to grapple with their fate.
Several of Klein’s Holocaust works were displayed earlier this year at the Gross-Rosen Museum in Rogoźnica in Poland, on the grounds of the concentration camp system of the same name, where an estimated 120,000 people were imprisoned and 40,000 died.
“As employees of a Memorial Site, we have constant access to disturbing historical photos and documents; these are undeniably important, but viewing the victims through the eyes of an artist is an entirely different, more intimate experience,” Bartosz Surman, who works for the museum’s education department, told me. Surman estimated that approximately 4,000 people saw Klein’s work there between January 27 and March 31. “For a Memorial Site located in a village of fewer than a thousand people, we consider it a significant success and a testament to the power of Mr. Klein’s work,” he said.
Four thousand miles away, “My Zaidy” hangs on the wall at the Dr. Bernard Heller Museum in downtown Manhattan as part of the exhibition “Proverbs, Adages, and Maxims.”
The man in the painting wears a star under his heart. The bright yellow patch and pearlescent and gold shimmer of his face contrast with the matte blue of his coat and hat. But turning the corner of the exhibition, it’s the eyes that catch you. “I left them blank, so you can put in his eyes, any eyes you want,” Klein said—his zaidy’s or yours or a stranger’s.
The eyes may be missing but the gaze is powerful, as though this old man, as he approaches his cruel end, is staring and saying, “Look at me. Do you see what’s happening? Why are you just standing there?”
“A lot of bubbes and zaides were exterminated,” Klein said, including his paternal grandfather. But the zaidy in the painting isn’t Klein’s, exactly, he said. He can’t recall ever seeing a photo of him. Instead, he painted another elderly man in a photo that struck him: This is what a zaidy selected for the gas chamber looks like. This is what Klein’s zaidy could have looked like.
“I decided I was going to do a painting, and fill that hole in my heart,” Klein said.
“There’s something very haunting about the hollowed, empty eyes,” museum director Jeanie Rosensaft told me over the phone. “We were very touched, because although [Klein] has not had a long resume of art production, we felt that the image that he provided was very compelling.”.
Klein is one of 58 artists in the exhibition, and his work will be included in a tour the museum is organizing following its New York run, which ends June 24. “We hope that he continues on this path,” Rosensaft said. “It’s really essential that art bear witness to the past and provide a bridge to the future.”
Seeing the pain
Klein’s next painting, he told me, was inspired by a photo of two small children, empty bowls in hand, begging for food.
“If I had more working space, I would make my paintings bigger,” said Klein, who says he hopes to one day create life-size portraits. “Right now you’ve got to get pretty close to see what the hell is going on,” he said. “I want size to be part of your experience seeing the pain.”
Spending his days sifting through Holocaust photos and painting its victims takes a toll. “When I paint, I become emotionally involved. But when it’s done, I listen to my music for a couple of hours, and that gives me the emotional strength to continue,” says Klein, who puts on Vivaldi, Mozart, or Brahms, for example. “After I do a painting, I need this music to settle my nerves.”
“Sometimes I say, ‘Klein, try something else!’” he said. But he can’t imagine abandoning his subject or newfound mission for any others. Which means he’ll need more of that music in the years to come, as might those viewing his paintings.
“A lot of my work is grotesque,” Klein said, and that’s intentional. “I want to shake you up.”
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