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From ‘how to’ to ‘why bother?’: Michael Strassfeld writes a new guide to being Jewish
(JTA) — “What the son wishes to forget the grandson wishes to remember.” That’s known as Hansen’s Law, named for the historian Marcus Lee Hansen, who observed that while the children of immigrants tend to run away from their ethnicity in order to join the mainstream, the third generation often wants to learn the “old ways” of their grandparents.
In 1973, “The Jewish Catalog” turned Hansen’s Law into a “do-it-yourself kit” for young Jews who wanted to practice the traditions of their grandparents but weren’t exactly sure how. Imagine “The Joy of Cooking,” but instead of recipes the guide to Jewish living had friendly instructions for hosting Shabbat, building a sukkah and taking part in Jewish rituals from birth to death. Co-edited by Michael Strassfeld, Sharon Strassfeld and the late Richard Siegel, it went on to sell 300,000 copies and remains in print today.
Fifty years later, Rabbi Michael Strassfeld has written a new book that he calls a “bookend” to “The Jewish Catalog.” If the first book is a Jewish “how to,” the latest asks, he says, “why bother?” “Judaism Disrupted: A Spiritual Manifesto for the 21st Century” asserts that an open society and egalitarian ethics leave most Jews skeptical of the rituals and beliefs of Jewish tradition. In the face of this resistance, he argues that the purpose of Judaism is not obedience to Torah and its rituals for their own sake or mere “continuity,” but to “encourage and remind us to strive to live a life of compassion, loving relationships, and devotion to our ideals.”
Strassfeld, 73, grew up in an Orthodox home in Boston and got his master’s degree in Jewish studies at Brandeis University. Coming to doubt the “faith claims” of Orthodoxy, he became a regular at nearby Havurat Shalom, an “intentional community” that pioneered the havurah movement’s liberal, hands-on approach to traditional practice. He earned rabbinical ordination from the Reconstructionist Rabbinical College when he was 41 and went on to serve as the rabbi of Congregation Ansche Chesed on the Upper West Side and later the Society for the Advancement of Judaism, the Manhattan flagship of Reconstructionist Judaism.
“To be disrupted is to experience a break with the past and simultaneously reconnect in a new way to that past,” writes Strassfeld, who retired from the pulpit in 2015. This week, we spoke about why people might find Jewish ritual empty, how he thinks Jewish practices can enrich their lives and how Passover — which begins Wednesday night — could be the key to unlocking the central idea of Judaism.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: I wanted to start with the 50th anniversary of the “Jewish Catalog.” What connects the new book with the work you did back then on the “Catalog,” which was a do-it-yourself guide for Jews who were trying to reclaim the stuff they either did or didn’t learn in Hebrew school?
Michael Strassfeld: I see them as bookends. Basically, I keep on writing the same book over and over again. [Laughs] Except no, I’m different and the world is different. I’m always trying to make Judaism accessible to people. In the “Catalog” I was providing the resources on how to live a Jewish life when the resources weren’t easily accessible.
The new book is less about “how to” than “why bother?” That’s the challenge. I think a lot of people take pride in being Jewish, but it’s a small part of their identity because it doesn’t feel relevant. I want to say to people like that that Judaism is about living a life with meaning and purpose. It’s not about doing what I call the “Jewishly Jewish” things, like keeping kosher and going to synagogue. Judaism is wisdom and practices to live life with meaning and purpose. The purpose of Judaism isn’t to be a good Jew, despite all the surveys that give you 10 points for, you know, lighting Shabbat candles. It’s about being a good person.
So that brings up your relationship to the commandments and mitzvot, the traditional acts and behaviors that an Orthodox Jew or a committed Conservative Jew feels commanded to do, from prayer to keeping kosher to observing the Sabbath and the holidays. They might argue that doing these things is what makes you Jewish, but you’re arguing something different. If someone doesn’t feel bound by these obligations, why do them at all?
I don’t have the faith or beliefs that underlie such an attitude [of obligation]. Halacha, or Jewish law, is not in reality law. It’s really unlike American law where you know that if you’re violating it, you could be prosecuted. What I’m trying to do in the book is reframe rituals as an awareness practice, that is, bringing awareness to various aspects of our lives. So it could be paying attention to food, or cultivating attitudes of gratitude, or generosity, or satisfaction. My broad understanding of the festival cycle, for example, is that you can focus on those attitudes all year long, but the festivals provide a period of time once in the year to really focus on, in the case of Rosh Hashanah and Yom Kippur, for example, saying sorry and repairing relationships.
In “Judaism Disrupted: A Spiritual Manifesto for the 21st Century,” Michael Strassfeld argues that the challenge of each generation’s Jews is to create the Judaism that is needed in their time. (Ben Yehuda Press)
Passover is coming. Probably no holiday asks its practitioners to do so much stuff in preparation, from cleaning the house of every trace of unleavened food to hosting, in many homes, two different catered seminars on Jewish history. Describe how Passover cultivates awareness, especially of the idea of freedom, which plays an important part thematically in your boo
The Sefat Emet [a 19th-century Hasidic master] says Torah is all about one thing: freedom. But there’s a variety of obstacles in the way. There are temptations. There’s the inner issues that you struggle with, and the bad things that are out of your control. The Sefat Emet says the 613 commandments are 613 etzot, or advice, that teach us how to live a life of freedom. The focus of Passover is trying to free yourself from the chains of the things that hold you back from being the person that you could be, not getting caught up in materiality or envy, free from unnecessary anxieties — all these things that distract us or keep us from being who we could be.
The Passover seder is one of the great rituals of Judaism. We’re trying to do a very ambitious thing by saying, not, like, “let’s remember when our ancestors were freed from Egypt,” but rather that we were slaves in Egypt and we went free. And at the seder we actually ingest that. We experience the bitterness by eating maror, the bitter herb. We experience the freedom by drinking wine. We don’t want it just to be an intellectual exercise.
Unfortunately the seder has become rote. But Passover is about this huge theme of freedom that is central to Judaism.
I think some people bristle against ritual because they find it empty. But you’re saying there’s another way to approach rituals which is to think of them as tools or instruments that can help you focus on core principles — you actually list 11 — which include finding holiness everywhere, caring for the planet and engaging in social justice, to name a few. But that invites the criticism, which I think was also leveled at the “Catalog,” that Judaism shouldn’t be instrumental, because if you treat it as a means to an end that’s self-serving and individualistic.
Certainly rituals are tools, but tools in the best sense of the word. They help us pay attention to things in our lives and things in the world that need repair. And people use them not to get ahead in the world, but because they want to be a somewhat better person. I talk a lot these days about having a brief morning practice, and in the book I write about the mezuzah. For most Jews it’s become wallpaper, but what if you take the moment that you leave in the morning, and there’s a transition from home to the outside and to work perhaps, and take a moment at the doorpost to spiritually frame your day? What are the major principles that you want to keep in your mind when you know you’re gonna be stuck in traffic or a difficult meeting?
And a lot of traditional rituals are instrumental. Saying a blessing before you eat is a gratitude practice.
But why do I need a particular Jewish ritual or practice to help me feel gratitude or order my day? Aren’t there other traditions I can use to accomplish the same things?
Anybody who is a pluralist, which I am, knows that the Jewish way is not the only way. If I grew up in India or Indonesia and my parents were locals I probably wouldn’t be a rabbi and writing these books.
But a partial answer to your question is that Judaism is one of the oldest wisdom traditions in the world, and that there has been a 3,000-year conversation by the Jewish people about what it means to live in this tradition and to live in the world. And so I think there’s a lot of wisdom there.
So much in Jewish tradition says boundaries are good, and that it’s important to draw distinctions between what’s Jewish behavior and what’s not Jewish behavior, between the holy and the mundane, and that making those distinctions is a value in itself. But you argue strongly in an early chapter that that kind of binary thinking is not Judaism as you see it.
Underlying the book is the notion that Rabbinic Judaism carried the Jewish people for 2,000 years or so. But we’re living in a very different context, and the binaries, the dualities — too often they lead to hierarchy, so that, for example, men matter more than women in Jewish life. And we’ve tried to change that. We are living in an open society where we want to be more inclusive, not less inclusive. We don’t want to live in ghettos. Now, the ultra-Orthodox say, “No, we realize the danger of trying to live like that. We don’t think there’s anything of value in that modern world. And it’s all to be rejected.” And it would be foolish not to admit that in this very open world the Jews, as a minority, could kind of disappear. But I think that Judaism has so much value and wisdom and practices to offer to people that Judaism will continue to be part of the fabric of this world — the way, for example, we have given Shabbat as a concept to the world.
You know, in the first 11 chapters of the Torah, there are no Jews. So clearly, Jews and Judaism are not essential for the world to exist. And that’s a good, humbling message.
OK, but one could argue that while Jews aren’t necessary for the world to exist, Judaism is necessary for Jews to exist. And you write in your book, “If the Jewish people is to be a people, we need to have a commonly held tradition.” I think the pushback to the kind of openness and permeability you describe is that Jews can be so open and so permeable that they just fall through the holes.
It certainly is a possibility. And it’s also a possibility that the only Jews who will be around will be ultra-Orthodox Jews.
But if Judaism can only survive by being separatist, then I question whether it’s really worthwhile. That becomes a distorted vision of Judaism, and withdrawing is not what it’s meant to be. I think we’re meant to be in the world.
Your book is called “Judaism Disrupted.” What is disruptive about the Judaism that you’re proposing?
I meant it in two ways. First, Judaism is being disrupted by this very different world we’re living in. The contents of the ocean we swim in is very different than in the Middle Ages. But I’m also using it to say that Judaism is meant to disrupt our lives in a positive way, which is to say, “Wake up, pay attention.” You are here to live a life of meaning and purpose, and to continue as co-creators with God of the universe. You’re here to make the world better, to be kind and compassionate to people, to work on yourself. In my mind it is a shofar, “Wake up, sleepers, from your sleep!” “Judaism Disrupted” says you have to pay attention to issues like food, and justice, and teshuva [repentance].
You were ordained as a Reconstructionist rabbi. Do you think your book falls neatly into any of our current denominational categories?
[Reconstructionist founder] Rabbi Mordecai Kaplan’s notion of Judaism as an evolving religious civilization is the one that I feel closest to. But I feel that the denominational structure isn’t particularly useful anymore. There’s basically two categories, Orthodox and the various kinds of liberal Judaism, within a spectrum. The modern world is so fundamentally different in its relationship to Jews and Judaism that what we’re seeing is a variety of attempts to figure out how to respond. And that will then become the Judaism for the next millennium. It’s time for a lot of experimentation. I think that’s required and out of that will come a new “Minhag America,” to use Isaac Mayer Wise’s phrase for the emerging custom of American Jews [Wise was a Reform rabbi in the late 19th century]. And we don’t need to have everybody doing it one way. As long as people feel committed to Judaism, the Jewish tradition, even if they’re doing it very differently than the Jews of the past, they will be writing themselves into the conversation.
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He was a privileged Jewish kid from NYC’s Upper East Side. Donald Trump was his greatest invention.
American Scoundrel: Roy Cohn’s Dark Journey from Joe McCarthy to Donald Trump
By Kai Bird with Susan Goldmark
Scribner, $32, 528 pages
By the beginning of the new millennium, Roy Cohn, the red-baiting scourge of the McCarthy hearings, lived largely in the pages of U.S. history books, trotted out on occasion to illustrate how America always manages to overcome its worst nativist impulses. But just in case someone never knew or had forgotten about Cohn’s malign influence on U.S. politics, Tony Kushner brought him back as a villain in his brilliant drama of the early 1990s, Angels in America.
Then, in 2016, Donald Trump was elected president and suddenly, Cohn was breaking news again. The very next year, when Trump was furious at then-Attorney General Jeff Sessions for recusing himself from an investigation into whether Russia meddled with the election, the president cried out to his advisers, “Where’s my Roy Cohn?”
Now, as if in answer to that question, Kai Bird has written a magisterial biography of the notorious lawyer and Trump whisperer that is indispensable reading for anyone who wants to understand the current political moment. Bird, the co-author of American Prometheus, the Pulitzer Prize-winning biography of Robert J. Oppenheimer and inspiration for the Oscar-winning movie, began it in 2022, a couple years before Trump’s re-election. He collaborated with his wife, Susan Goldmark, who did the research for this riveting account of the unseemly, outrageous life of the hustler and con man about whom Trump once said, “If you need somebody to get vicious, hire Roy Cohn.”
Though Cohn has been long gone from public life — he died of AIDS at age 59 in 1986, insisting to the very end that he had succumbed to liver cancer — Bird demonstrates how he practically invented the dark political arts of resentment and division adopted by his former client, protégé and future president of the U.S.
Indeed, over the recent 4th of July weekend — decades after the collapse of the Soviet Union — Trump used Cohn’s divisive, inflammatory rhetoric in back-to-back speeches, including one at Mount Rushmore, branding his political opponents as evil, godless communists.
Bird walks us through Cohn’s life decade by decade. He grew up as an only child in a wealthy Jewish family on the Upper East Side and attended elite private schools, where his boyhood friends included Si Newhouse Jr., heir to the Condé Nast media empire, Gene Pope Jr., who would go on to found the National Enquirer, and, improbably, Al Lowenstein, later a well-known liberal Democratic activist and politician.
After Cohn graduated from Columbia Law School, his father, a judge, pulled strings to get him a job in the U.S. attorney’s office for the Southern District of New York, where he made a name for himself as the boy prosecutor who sent Julius and Ethel Rosenberg to the electric chair in 1953 for passing nuclear secrets to the Soviets. His tactics were highly irregular, including private meetings with the trial judge.
Not long after that, he went to work as chief counsel to Wisconsin Senator Joe McCarthy, using his position to force U.S.-funded libraries abroad to purge 30,000 books on the flimsy pretext that the authors were communists or Soviet sympathizers. He was also a central figure in the so-called Lavender Scare, when hundreds of federal employees thought to be gay lost their jobs because they were deemed a security risk.
By the 1960s, Cohn was back in New York, hanging out at the Stork Club and 21, squiring Barbara Walters around town, and representing mobsters though still living at home with his mother at 1165 Park Avenue. Over the next decade he would be indicted three times by U.S. Attorney Robert Morgenthau Jr. for bribery, perjury, extortion and other white-collar crimes. In each case, he managed to beat the rap though months before his death he was finally disbarred for unethical conduct.
After Cohn’s mother died in 1967, he moved into a stately townhouse on East 68th Street, where he established his law practice and stopped the pretense of dating women though he never publicly came out as gay. Then, in 1973, Cohn met his most consequential client. At the time, Trump was the 27-year-old son of a Queens real estate mogul trying to break into the Manhattan market and living in a rent-controlled studio on East 75th Street with a view of a water tank on an adjacent building.
Cohn advised the family on how to fight a Justice Department lawsuit accusing the real estate company of violating the Fair Housing Act by refusing to rent to Black tenants. Over the course of the litigation, Cohn taught Trump his signature moves: Keep your name in the paper. Never settle. Countersue. Claim victory. Don’t pay the bills.
Cohn also advised Trump on his first major real estate deal in Manhattan — buying the dilapidated Commodore Hotel on East 42nd Street, next to Grand Central Terminal. To get the deal done, Cohn worked his extensive connections to New York’s first Jewish mayor, Abraham Beame, a player in Democratic machine politics and an old friend of Cohn’s father.
For more than a decade, Trump continued to model himself after his mentor, adopting his penchant for personalized license plates and his snarling, scowling demeanor. Bird argues that in the decades since Cohn died, the McCarthyism of the 1950s has morphed into a nativist, America Firster politics that transformed the Republican Party into one of resentments against the old establishment, multiculturalism, globalization and liberal culture — in other words, the MAGA movement of today.
Cohn’s “values, his unethical behavior, and his political mindset have survived and replaced the values of the establishment he so resented,” Bird writes. “Perhaps his life is proof of the ability of one individual to change the arc of history. Certainly, he gave us the narcissistic politics of Donald Trump.”
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Trump wants to remake Washington — Hitler tried to do the same to Berlin
“It was natural that I also followed my passion for architecture. My faith increased that after many years my dreams would become reality. I was firmly convinced that I would win fame as a builder.”
–Adolf Hitler
“I own buildings. I’m a builder; I know how to build. Nobody can build like I can build.”
–Donald Trump
Adolf Hitler personally drew up architectural plans to remake Berlin into a 1,000-year monument to himself with a three-mile-long “Avenue of Splendors,” on one end an Arch of Triumph that would dwarf the Paris original, and on the other, the domed Hall of the People, which would have been the largest enclosed structure in the world.
Hitler’s grandiose remodeling schemes were suspended in 1943, in order to redirect resources to the war he had begun.
Like Hitler, Donald Trump is also busy designing and creating monuments to himself, including an arch even larger than the one Hitler had planned for Berlin. Unlike Hitler, Trump is proceeding at a fevered pace on completing his legacy projects despite the soaring costs of a war he began.
History is replete with monarchs, emperors, pharaohs and tyrants who sought to immortalize themselves with monuments. In modern times, what sets Trump and Hitler apart is their decision to personally draw up a plan to entirely change the look of a capital city to project their powers.
Hitler began sketching his plans to remake Berlin in the 1920s, years before he came to power. In his postwar book Inside the Third Reich, Hitler architect Albert Speer recalled Hitler showing him two sketches the Nazi leader had already made of his own concept, hoping to recruit the architect to the project. In 1937, the Hitler tasked Speer with making it happen.
Speer started by making a model of the redesigned city, to be renamed Germania. In his book, Speer wrote of Hitler’s glee while inspecting the scaled model.
“He bent down, almost kneeling, his eye an inch or so above the level of the model, in order to have the right perspective, and while looking he spoke with unusual vivacity. These were the rare times when he relinquished his usual stiffness. In no other situation did I see him so lively, so spontaneous, so relaxed,” Speer wrote.
Hitler admired the imperial architectural styles of Rome, Vienna and Paris, but came up with designs for Berlin that were meant to surpass those cities not in elegance, but in expressions of Teutonic power.
The Germania model designed by Speer looks like an elaborate Wagnerian stage set: Visitors disembarking from a new train station would immediately see the 380-foot-tall Arch of Triumph, and as they passed beneath they would follow a wide boulevard lined with about a dozen monumental ministry buildings made of hand-hewn stone, a Soldiers’ Hall with a crypt for the tombs of German field marshals, and, at the terminus of the avenue, the monstrous centerpiece of the whole project — the domed Hall of the People, with enough space to hold 150,000 people.
“He wanted the biggest of everything to glorify his works and magnify his pride,” Speer wrote.
The New Reich Chancellery went up, and some other pieces of Germania were completed. But as Hitler’s regime focused on building concentration camps and death camps, and German invasion forces spread across Europe and the Soviet Union, Hitler had to divert resources to pay for his war crimes.
The Reich suspended work on Germania in 1943. Hitler’s original idea was to complete the transformation in 1950, creating Germania as a new Rome, capital of a vanquished continent. But when the Soviet army entered Berlin, the city had been reduced to ruins. Hitler’s Germania fantasy came to a bloody end on April 30, 1945 when he put a bullet in his head inside the Führerbunker.
Like Hitler, Donald Trump seems to favor classical architectural styles for public buildings, although his love of gaudy glitter – on display inside the White House and at Trump’s own properties — contrasts with Hitler’s preference for a Teutonic austereness.
A few days ago Trump gave the White House press pool a tour of work that he has directed to be done on and around the White House. It reminded me of Speer’s description of Hitler’s glee while inspecting Speer’s model of Germania.
“I’m fixing the country. We’re fixing the White House too. One thing I know how to do is build,” said Trump, who spoke of having columns of the White House repaired, its exterior cleaned, of work on his ballroom and the “military complex” that would be built beneath it. He staged the dog-and-pony show to show off a helipad that was under construction.
“It’s ridiculous the way this place was taken care of. Nobody, including presidents, they didn’t see it. But I see it because I was very good at real estate, like maybe the best in a lot of ways,” said the man who went through multiple bankruptcies and has a history of failed business ventures: Trump University, Trump Steaks, and Trump’s airline, to name only a subset of available examples.
Despite Trump’s boasts, his vanity projects have hit some rough patches. There’s the reflecting pool debacle, a court ruling that his name had to come off the John F. Kennedy Center for the Performing Arts. Some Senate Republicans tried to stop him from spending taxpayer money on his garish ballroom.
But because of a Supreme Court ruling, it looks like the ballroom will go up after all. And Trump is not about to abandon other legacy projects – like his Triumphal Arch, and a National Garden of American Heroes.
Trump’s powers are cracking faster than he can build these monuments to himself. His approval ratings are abysmal. Global respect for America is tanking. Allies who have tried to mollify him are beginning to defy him. Iran has outsmarted him. Former MAGA loyalists like Marjorie Taylor Greene and Tucker Carlson have abandoned him. Trump is increasingly looking like an empty shell – a man who has chosen building narcissistic monuments, and corruptly enriching himself and his family, over paying heed to Americans who are suffering because of his self-aggrandizing rule.
Economist Paul Krugman just released a video titled Der Untergang, and subtitled “How badly will Trump punish America?” Der Untergang, German for “downfall,” is the title of a 2004 movie about Hitler’s last days in the Führerbunker. Krugman says that Trump’s obsession with his vanity projects is an indication that Trump knows his powers are rapidly vanishing, and that Trump is becoming perilously desperate.
“In many ways he is behaving like somebody who knows that his days of supreme power are about to end,” Krugman said.
Krugman argues that Trump is showing a deranged proclivity to tear things down rather than preserve them, as evidenced by his demolition of the beloved East Wing. And now Trump is threatening to raze the Kennedy Center for the Performing Arts, simply because he can’t get his name on it.
History has shown how perilous things can become when a despot finds himself backed into a corner. As we approach the mid-term elections, we should all worry about the wreckage Trump is capable of wreaking while watching his powers vanish. Trump’s downfall, whenever and however it may come, must not also be America’s.
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John Galliano bows out of Met exhibition as backlash over antisemitism mounts
(JTA) — John Galliano withdrew from a planned exhibition of his work at the Metropolitan Museum of Art in response to a rapidly escalating controversy over the museum’s decision to honor the fashion designer despite his history of antisemitic and racist remarks.
Galliano said Monday that, after discussions with the Met and others involved in the exhibition, he had decided that it was best for the show not to take place “at this time.” He said he remained accountable for the pain caused by his past words, particularly to Jews and Asians, and recognized that an exhibition honoring his work could be painful for some. The Met said it agreed with his decision.
The reversal came less than a month after the Met announced that Galliano would be the subject of its spring 2027 Costume Institute exhibition, a rare honor that would have made him only the third living designer to receive a solo show there. The exhibition was to open in conjunction with the Met Gala, one of New York’s biggest annual cultural and celebrity events.
Opposition to the exhibition appeared to mount steadily in recent weeks. Early public pushback came from Dana Thomas, Galliano’s biographer, who wrote in an Aug. 6 New York Times guest essay that the Met had made a serious error in choosing to honor him. The criticism then broadened, with Jewish leaders, museum donors and New York politicians publicly urging the museum to reconsider.
Those criticizing the exhibition were New York City Council Speaker Julie Menin, who called the decision deeply painful for Jewish New Yorkers. Prominent Met donor Alice Tisch described the planned exhibition as a “whitewash,” according to the Times.
The reversal is also a setback for Anna Wintour, Condé Nast’s chief content officer and the driving force behind the Met Gala. She had championed Galliano for decades and was among the Met figures most closely associated with bringing the exhibition to the museum.
The controversy was complicated by the fact that some prominent rabbis had actually met with Galliano before the exhibition was announced and had come away believing that his repentance was sincere, as JTA reported earlier this month.
Rabbi Rick Jacobs, president of the Union for Reform Judaism, said Galliano had shown the contrition necessary to earn his return to the fashion world. Rabbi Joshua Davidson of Congregation Emanu-El, a Reform synagogue in New York, likewise said he was convinced by Galliano’s statements of remorse and his efforts to educate himself about Judaism and the Holocaust. Neither rabbi endorsed the Met’s decision to honor Galliano, however. Rather, both told the museum that if it proceeded, it had a responsibility to make Galliano’s antisemitic conduct and the lessons of his repentance an explicit part of the exhibition.
That distinction was reflected in the Met’s original plans. Andrew Bolton, the Costume Institute’s curator, said in announcing the exhibition that it would address Galliano’s antisemitic and anti-Asian conduct, as well as his firing from Dior, a hate speech conviction in France and his subsequent treatment for addiction and public acknowledgment of his actions.
Galliano, among the most celebrated designers in the world, was fired by Christian Dior in 2011 after a video surfaced showing him praising Hitler and making antisemitic remarks in a tirade in a Paris cafe, and directing an anti-Asian slur at the partner of a Jewish woman. A French court convicted him of making public insults based on race, religion and ethnicity.
After entering treatment for substance abuse, he embarked on a process of rehabilitation and eventually returned to the fashion industry. Abraham Foxman, then national director of the Anti-Defamation League, met privately with Galliano repeatedly; in 2013 the ADL said that Galliano had demonstrated “true contrition.”
After the initial announcement of the exhibition, Jonathan Greenblatt, CEO and national director of the ADL, noted that the organization had “long since accepted his apology,” but added that he understood “why some Jews may question the decision to include Galliano’s work in an exhibit given the massive spike in antisemitism in recent years.”
In a statement Monday, Greenblatt appeared to take a harder line in welcoming Galliano’s withdrawal.
“With antisemitism at crisis levels, the Met honoring John Galliano at this moment was misguided, and even Galliano ultimately recognized what the Met should have done from the start,” Greenblatt wrote on X. “This was the wrong move at the wrong moment. Timing matters.”
Galliano’s withdrawal leaves the Met without a planned spring 2027 Costume Institute exhibition. The museum said information about a replacement exhibition and the 2027 Met Gala will be announced later.
This article originally appeared on JTA.org.
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