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U.N. exhibit remembers when the world turned its back on stateless Jewish refugees
(New York Jewish Week) — In 2017, Deborah Veach went back to Germany, looking for the site of the displaced persons camp where she and her parents had been housed after World War II. They were in suspension, between the lives her parents led in Belarus before they were shattered by the Nazis, and the unknown fate awaiting them as refugees without a country.
To her dismay, and despite the fact that Foehrenwald was one of the largest Jewish DP centers in the American-controlled zone of Germany, she found barely a trace. A complex that once included a yeshiva, a police force, a fire brigade, a youth home, a theater, a post office and a hospital was remembered by almost no one except a local woman who ran a museum in a former bath house.
“It was sort of an accident of history that we were there in that particular camp in Germany, of all places, with no ties, no extended family, no place to call home,” said Veach, who was born at Foehrenwald in 1949 and lives in New Jersey. Now, “they renamed it. They changed the names of all the streets. There is nothing recognizable about the fact that it had been a DP camp.”
Veach is part of a now-aging cohort of children born or raised in the DP camps, the last with a first-hand connection to the experience of some 250,000 Jewish survivors who passed through them at the end of the war. To make sure memories of the camps survive them, the YIVO Institute for Jewish Research and the United Nations Department of Global Communications have staged a short-term exhibit, “After the End of the World: Displaced Persons and Displaced Persons Camps.”
On display at U.N. headquarters in New York City Jan. 10 through Feb. 23, it is intended to illuminate “how the impact of the Holocaust continued to be felt after the Second World War ended and the courage and resilience of those that survived in their efforts to rebuild their lives despite having lost everything,” according to a press release.
Residents of a displaced persons camp in Salzburg, Austria. Undated, post-Second World War. (YIVO Institute for Jewish Research)
Among the artifacts on display are dolls created by Jewish children and copies of some of the 70-odd newspapers published by residents, as well as photographs of weddings, theatrical performances, sporting events and classroom lessons.
The exhibit is “about the displaced persons themselves, about their lives and their hopes and their dreams, their ambitions, their initiatives,” said Debórah Dwork, who directs the Center for the Study of the Holocaust, Genocide, and Crimes Against Humanity at the Graduate Center-CUNY, who served as the scholar adviser for the exhibition.
“There’s no point where the residents of these DP camps were just sitting around waiting for other people to do things for them,” she told the New York Jewish Week. “They took initiative and developed a whole range of cultural and educational programs.”
As early as 1943, as the war displaced millions of people, dozens of nations came to Washington and signed onto the United Nations Relief and Rehabilitation Authority. (Despite its name, it preceded the founding of the U.N.) After the war, the British and U.S. military were in charge of supplying food, protection and medical care in hundreds of camps throughout Germany and Austria, and UNRRA administered the camps on a day-to-day basis.
Early on, Jewish Holocaust survivors — some who suffered in concentration camps, others who had escaped into the Soviet Union — were put in DP camps alongside their former tormentors, until the U.S. agreed to place them in separate compounds. Unable or unwilling to return to the countries where they had lost relatives, property and any semblance of a normal life, they began a waiting game, as few countries, including the United States, were willing to take them in, and Palestine was being blockaded by the British.
Abiding antisemitism was not the only reason they remained stateless. “Jews were [accused of being] subversives, communists, rebels, troublemakers, and the world war quickly gave way to cold war, and with it the notion that Hitler had been defeated and what we have to worry about is the communists,” David Nasaw, author of “The Last Million,” a history of the displaced persons, told the New York Jewish week in 2020.
In 1948 and 1950, Congress grudgingly passed legislation that allowed 50,000 Jewish survivors and their children to come to the United States. The rest were eventually able to go to Israel, after its independence in 1948.
The U.N. exhibit focuses less on this macro history — which includes what became another refugee crisis for the Palestinians displaced by Israel’s War for Independence — than on life in the DP camps.
“The exhibition illustrates how the displaced persons did not shrink from the task of rebuilding both their own lives and Jewish communal life,” said Jonathan Brent, chief executive officer at YIVO, in a statement.
Among those rebuilding their lives were Max Gitter and his parents, Polish Jews who had the perverse good luck of being exiled to Siberia during the war. The family made its way to Samarkand, in Uzbekistan, where Gitter was born in 1943. After the war ended, his parents returned to Poland, but repelled by antisemitism sought refuge in the American zone in Germany. They spent time in the Ainring DP camp, a former Luftwaffe base on the Austrian border, and at a small camp called Lechfeld, about 25 miles west of Munich.
Dolls made by stateless Jewish children residing in a DP camp near Florence, Italy, known as “Kibbutz HaOved.” The dolls are attired in local costumes based on the districts of the Tuscan city of Sienna. (YIVO Institute for Jewish Research)
“I was there until we came to the United States when I was six and a half, so I have some very distinct memories and some hazy memories,” said Gitter, emeritus director and vice chair of the YIVO board. One story he hasn’t forgotten is how his father and a friend were walking through the camp when they came upon a long line of people. “They were from the Soviet Union, so they knew that when there’s a line that it might be of interest.” It turned out to be a line for the lottery that would allow them to get into the United States under the Displaced Persons Act of 1948.
The family came to the United States in 1950, to “pretty shabby lodgings” in the Bronx, before his father bought a candy store and moved to Queens. Max went on to attend Harvard College and Yale Law School, and became a corporate litigator.
Gitter’s brother was born in one of the camps, and the exhibit includes a poster depicting the population increase between 1946 and 1947 at the Jewish DP center Bad Reichenhall. The birthrate in the camps has often been described as evidence of the optimism and defiance of the survivors, but Dwork said the truth is somewhat more complicated.
“There was a very high birth rate among the Jews in DP camps. This is the age group of reproductive age, at 20 to 40,” she said. “However, this image of fecundity hides what was rumored to be a significant abortion rate, too. And women had experienced years of starvation. Menstruation had only recently recommenced. So many women, in fact, miscarried or had trouble conceiving to begin with.”
A chart by artist O. Lec depicts the natural population increase of the Jewish Center Bad Reichenhall, Germany, 1946-1947. There was a very high birth rate among the Jews in DP camps. (YIVO Institute for Jewish Research)
“There is no silver lining here,” she added. “People live life on many levels. On the one hand, DPs look to the future and look with hope; at the same time, they carry tremendous burdens of pain and suffering and trauma and trepidations about the future.”
Veach, a member of the YIVO board, hopes visitors to the exhibit understand that such trauma is hardly a thing of the past.
“I think the real lesson is that history keeps repeating itself,” said Veach, growing emotional. “Basically we have DPs on our border with Mexico, you have DPs from Ukraine. I don’t think people realize the repercussions for these people who are trying to find a place to live. These are good people who are just placed where they are by history.”
Gitter, who like Veach will speak at an event Jan. 24 at the U.N. marking the exhibit, also hopes “After the End of the World” prods the consciences of visitors.
“A lot of the countries, a lot of places, including the United States, would not accept Jews after the war,” he said. “The issue of memory, the issue of statelessness, the issue of finally there was some hope for the Jews in their immigration to Israel and the United States — that part of the story also needs to be told.”
“After the End of the World: Displaced Persons and Displaced Persons Camps” is on view from Jan. 10-Feb. 23, 2023, at the United Nations Headquarters, 405 E 42nd St, New York, Monday-Friday, 9:00 a.m.-5:00 p.m. Entrance to the United Nations Visitor Centre in New York is free, but there are requirements for all visitors. See the United Nations Visitor Centre entry guidelines.
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Israel Becomes World’s 7th Largest Arms Exporter
Israel’s Iron Dome missile defense system, on display during a visit by US President Joe Biden. Photo: Ariel Hermoni / Ministry of Defense
Israel has become the world’s seventh-largest arms exporter, steadily increasing its share of global weapons sales even amid a multi-front war and mounting international criticism, according to a new report.
On Monday, the Swedish-based Stockholm International Peace Research Institute (SIPRI) released its latest report on global arms exports, analyzing trends from the last five years (2021–2025) and comparing them with the previous period (2016–2020).
For the first time, Israel has surpassed Great Britain to become the world’s seventh-largest arms exporter, with its share of global weapons sales rising to 4.4 percent in 2021–2025, up from 3.1 percent in the previous period.
“Despite conducting the war in Gaza and attacks in Iran, Lebanon, Qatar, Syria, and Yemen, Israel still managed to increase its share of global arms exports,” Zain Hussain, researcher at SIPRI’s Arms Transfers Program, said in a statement.
According to the newly released report, Israel also ranked as the 14th-largest arms importer in the world, acquiring most of its weapons from the United States (68 percent) and Germany (31 percent), with a small share from Italy (1 percent), showing that arms embargoes and international criticism have done little to slow its defense trade.
Overall, the total volume of the global arms trade rose by 9.2 percent in the last five years compared to the previous period, with European nations more than tripling their weapons imports to become the world’s largest arms-importing region amid rising regional tensions with Russia and escalating conflict in the Middle East.
The US continued to be the world’s largest arms exporter in 2021–2025, holding a 42 percent share of global sales, followed by France (9.8 percent), Russia (6.8 percent), Germany (5.7 percent), China (5.6 percent), Italy (5.1 percent), and Israel.
Among Middle Eastern countries, Saudi Arabia leads as the top purchaser of American arms with 12 percent of sales, followed by Qatar and Kuwait, while Israel ranks 12th globally, receiving just 3.1 percent of all US arms exports
SIPRI’s latest report comes as the Jewish state faces growing international pressure, with European states among the most vocally critical and threatening arms embargoes over Israel’s defensive war against the Palestinian terrorist group Hamas in Gaza and its military campaign against Iran.
Despite these threats, Israel’s arms exports have continued to grow, solidifying its position as a leading player in the global weapons market.
For example, the UK and Germany have pressed ahead with arms purchases from Israel despite repeated threats and public warnings to suspend defense trade, signaling the limits of international pressure.
Israel now supplies 8.2 percent of British arms purchases, second only to the US, which accounts for 85 percent.
In Israel’s biggest-ever arms export deal, Germany recently acquired the Arrow missile defense system, marking the largest weapons sale in the country’s history.
According to the SIPRI report, Israel’s growth in global arms exports was driven primarily by international sales of air defense systems, even as the country faced heavy domestic demand for weapons amid a multi-front war.
Overall, Israel sold arms to 23 European countries (41 percent of its total exports), 10 Asian countries (40 percent), five in North and Latin America (8.6 percent), and seven African nations.
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The Media Takes Sides in the Iran War — and It’s Usually Sympathetic to Iran
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks during a meeting in Tehran, Iran, Feb. 1, 2026. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
Who could forget The Washington Post‘s foolish unforced error in 2019 when its obituary for Abu Bakr al-Baghdadi, the self-proclaimed Caliph of ISIS, called him an “austere religious scholar“?
Apparently, the editors at the Post forgot, because they printed an obituary for the Islamic Republic of Iran’s Supreme Leader Ali Khamenei that makes its praise for al-Baghdadi look restrained.
It portrays Khamenei as a modest man, quoting him as saying “I consider myself a common religious student without any outstanding feature or special advantage,” and provides details on his reading habits.
It even claims that Khamenei “declared [nuclear weapons] to be forbidden by Islam” and quotes him as saying he “issued a fatwa, based on Islamic teachings, forbidding the production of nuclear weapons.”
“With his bushy white beard and easy smile, Ayatollah Khamenei cut a more avuncular figure in public than his perpetually scowling but much more revered mentor,” author of the obituary William Branigin gushes.
The New York Times
The New York Times obituary writers, Alan Cowell and Farnaz Fassihi, must have been reading from the same set of notes when they wrote that Khamenei “affected an avuncular and magnanimous aloofness, running the country from a perch above the jousting of daily politics.”
They portray Khamenei as an effective leader who “lacked his predecessor’s charisma and mystique” but “cannily exploited political instabilities in the Middle East to extend Iran’s reach.”
Like Branigin, Cowell and Fassihi claim that “nuclear arms … were banned by the ayatollah in a 2003 religious edict.”
Obituaries are handled by the news division at The Wall Street Journal. It’s hard to imagine the Editor of the Editorial Page, Paul A. Gigot, approving Sune Engel Rasmussen’s Khamenei obituary, which opens with a sentence identifying him as “Supreme Leader Ayatollah Ali Khamenei, the austere cleric who ruled Iran for more than three decades and reshaped the balance of power across the Middle East.”
And while Rasmussen doesn’t call Khamenei “avuncular,” he describes him as “A pragmatist as well as an ideologue” who “endorsed diplomacy when convenient” and held a “popelike position in the Shiite Muslim world: elected by a council of elders to convey the word of God.”
He even goes so far as to credit Khamenei with making “progress in some important areas” including offering “some of the best healthcare and education in the region” and “boost[ing] female literacy rates.”
Like his peers at the Post and New York Times, Rasmussen also appears to accept uncritically Khamenei’s insistence that “the program was peaceful” and mentions that he “issued a religious pronouncement asserting that Iran wouldn’t acquire nuclear arms.”
What could compel journalists to praise an avowed enemy of the US, ignore his lies, downplay his nuclear program, and overlook his slaughter of thousands of Iranians and his genocidal campaign to destroy Israel?
Khamenei the Diplomat
The Khamenei-as-diplomat portrayal in the obituaries of the three most important American newspapers revolves around Barack Obama’s Joint Comprehensive Plan of Action (JCPOA), the so-called “Iran nuclear deal” that rewarded Iran handsomely for doing very little and set the stage for a legal Iranian nuclear bomb.
All three obituaries misrepresent the JCPOA through both omission and commission.
First, the errors of commission.
The Washington Post states that the JCPOA “restricted Iran’s nuclear program in exchange for the easing of crippling economic sanctions.” The New York Times claims that it “restricted Iran’s right to enrich uranium in exchange for the lifting of international sanctions.” And The Wall Street Journal claims that it “granted Iran relief from sanctions in return for restrictions on its uranium enrichment program.”
The error here is that Iran’s “restrictions” were largely self-imposed and self-policed. Unlike Ronald Reagan’s “trust but verify” approach to negotiations, Obama naively agreed to Iranian “self-inspections” of sensitive military sites.
In terms of omission, none of the three obituaries acknowledges the fact that had the US not withdrawn from the JCPOA and reinstated the “maximum pressure” sanctions, Iran’s nuclear program would be mostly legal by now due to the JCPOA’s sunset clauses.
Trump the Villain
Each obituary frames the US withdrawal from the JCPOA as evidence of Trump’s belligerence.
The New York Times is the most direct of the three with the claim that Khamenei’s “mistrust was validated three years later, however, when Mr. Trump withdrew from the agreement, restoring sanctions and piling on new ones.”
The Wall Street Journal puts the sense of validation in Khamanei’s mouth: “After President Trump in 2018 withdrew from the historic nuclear pact that Iran struck with global powers in 2015, Khamenei said he was vindicated.”
But The Washington Post actually provides cover for Khamenei’s rush for nuclear breakout capacity and crossing the 90% enrichment threshold, with the claim that after Trump voided Obama’s agreement, “In retaliation, Iran began disregarding some provisions of the nuclear deal.”
In fact, Khamenei had been breaking the JCPOA from the very start. None of the three obituaries reminds its readers of that fact.
The obituaries also subtly attempt to downplay Khamenei’s desire for nuclear weapons, believing, it seems, his lie that the Islamic Republic is only interested in nuclear energy.
None asks why Iran denied IAEA inspectors access to the nuclear enrichment facilities it built deep underground or why a peaceful nuclear energy program would need underground facilities. None mentions that nuclear energy requires uranium enrichment of about 5% whereas Iran has admitted to having 460 kg of uranium at 60% enrichment.
Khamenei’s obituaries come as no surprise to anyone who follows media bias and understands how journalists increasingly side with America’s enemies in general and our Islamist enemies in particular.
While claims that journalists are the enemies of the American people are hyperbolic, the Khamenei obituaries show that many of them are not the enemies of our enemies. The Washington Post, New York Times, and Wall Street Journal have demonstrated that they are not interested in portraying the world’s number one supporter of terrorism, a man who has killed thousands of his own countrymen and women and threatened to wipe America off the map, as the villain that he was, preferring instead to humanize him.
Chief Investigative Project on Terrorism (IPT) Political Correspondent A.J. Caschetta is a principal lecturer at the Rochester Institute of Technology and a fellow at Campus Watch, a project of the Middle East Forum where he is also a Milstein fellow. A version of this article was originally published by IPT.
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Australia’s Largest Arts Festival to Open With Wave of Anti-Israel Artists, Led by Controversial Creative Director
A view of Sydney, Australia. Photo: Reuters/David Gray.
The 25th edition of the Sydney Biennale, Australia’s largest arts festival, opens to the public on Saturday and will feature a slew of artists with anti-Israel views similar to those expressed by the festival’s artistic director, Emirati princess and curator Hoor Al-Qasimi.
The 25th Biennale of Sydney, which will take place from March 14-June 14 across multiple venues, receives taxpayer funding and support from the federal government of Australia, the state government of New South Wales, and the City of Sydney. However, several of the festival’s other partners and sponsors may be problematic for supporters of Israel.
Qatar Museums and Rubaiya Qatar, a new nationwide contemporary art quadrennial that will debut in November 2026, are the festival’s “major strategic” sponsors, according to the event’s website. Qatar has a long history of aligning itself with Hamas and the Muslim Brotherhood, providing a home for the senior leaders of both organizations.
Hamas and the Muslim Brotherhood are both internationally designated terrorist organizations. In the US, Hamas has carried the label for years, and the Trump administration has, in recent months, proscribed branches of the Muslim Brotherhood in Africa and the Middle East.
The festival’s “major partners” include the global property developer Arada, co-founded by Al-Qasimi’s brother-in-law, Sheikh Sultan bin Ahmed Al Qasimi. When the partnership was announced in November 2025, it caused significant concern among the Jewish community. Another partner of the festival, the Barjeel Art Foundation, is controlled by the princess’s family.
“There were grave concerns that the appointment of Hoor Al Qasimi would result in one of our flagship cultural institutions becoming a tool of ideology and exclusion,” Alex Ryvchin, co-chief executive of the Executive Council of Australian Jewry, said last year, as cited by The Australian Financial Review. “The announcement that Al Qasimi’s family is now financially sponsoring the festival increases those concerns significantly, given that the family has a record of villainizing Israelis and calling for their boycott. The immense creative and financial power the family now exerts over the festival is alarming and risks undermining the spirit of the festival.”
Al Qasimi is the daughter of the ruler of Sharjah, one of seven emirates that comprise the United Arab Emirates. She is also the founder, president, and director of the Sharjah Art Foundation, an independent public arts organization in the UAE. She has a history of making anti-Israel comments and declaring “Free Palestine.”
When she was the artistic director of Japan’s Aichi Triennale in 2025, she said, “I didn’t imagine we would be witnessing a genocide live-streamed through our phones … this ongoing violence that can no longer be ignored … we all live under the same sky and none of us are free until all of us are free.” She also talked about “ongoing ethnic cleansing, and genocides.”
In October 2023, shortly after the Hamas-led Oct. 7 massacre in southern Israel, she signed an open letter that voiced support for “Palestinian liberation.” The same open letter called for an end to Israel’s “human rights violations and war crimes” and “escalating genocide” in the “occupied and besieged Gaza Strip.” It further talked about “oppression,” “occupation,” and the “collective punishment of Gaza civilians,” but made no mention of the deadly rampage on Oct. 7 in which Hamas-led terrorists killed 1,200 Israelis and kidnaped 251 hostages.
Al Qasimi father also reportedly once said that “the Zionist presence in Palestine is a cancerous growth within the heart of the Arab nation.” Sheikha Jawaher Bint Mohammed Al Qasimi additionally “criticized the UAE’s cooperation with Israel in the education field,” according to The Middle East Monitor.
The Australian Financial Review reported that several donors and sponsors withdrew their support from the 2026 Sydney Biennale in response to Al Qasimi’s appointment. Al Qasimi’s decision to pick mostly pro-Palestinian artists for the Sydney Biennale also prompted the Carla Zampatti Foundation to withdraw funding for the festival, according to The Australian. In January 2026, Sydney Biennale ambassador Bhenji Ra cut ties with the festival after she faced criticism from the Jewish community over social media posts, including one message she shared that said, “Genocidal death cults do not have the right to exist.”
THE ARTISTS
The theme for this year’s Sydney Biennale is “Rememory,” a term adopted from Toni Morrison’s Pulitzer Prize-winning 1987 novel Beloved to describe “how we become subjects and storytellers of our collective present through events of the past.”
Out of the 83 artists and collections from 37 countries being featured in the 25th Sydney Biennale, more than half are Arab and Muslim and no Israeli artists are included the lineup. The only Jewish talent participating is New York-based Iraqi-American artist Michael Rakowitz, who has publicly made anti-Israel comments. In 2017, Rakowitz described his art as a form of “sumud,” an Arabic term meaning resilience, to “not allow Zionism to loot everything from the imagination, to keep alive the reality of what the Middle East was like before.”
French-Lebanese artist, DJ, and embroiderer Nasri Sayegh is also featured in this year’s Biennale, and he previously posted on social media that “Jewish supremacy is a disease.”
Richard Bell, an Australian artist showcasing his work in the festival, posted content on social media that has accused Israel of “genocide” in Gaza and been critical of Israeli Prime Minister Benjamin Netanyahu. In an Instagram Story on Wednesday, he shared a video from Middle East Eye of an economics professor accusing Israel and the United States of a “mass murder of civilians” in Iran, and indiscriminately “carpet bombing Tehran.”
In August 2025, Bell shared a message on Instagram that said in part, “colonial societies target children because they want to take away the future … it is happening in Gaza, where children are being starved to death.” He previously created a large painting in the shape and colors of the Palestinian flag and the piece was titled “From the River to the Sea,” a slogan that is widely interpreted as a call for the destruction of Israel and for it to be replaced with “Palestine.”
Aysenur Kara is an “emerging Turkish artist” featured in this year’s Sydney Biennale who “aims to use her material conceptions to platform those facing genocide in Gaza right now,” according to a description provided on the festival’s website. The festival additionally said that another one of its presenters, Palestinian artist Khalil Rabah, uses his work “to articulate the very real situation of occupation experienced by Palestinians.”
A series of photographs by Iranian photographer Hoda Afsha being featured in the Sydney Biennale depicts indigenous children who had been in the juvenile justice system and was inspired by the fate of children during the “genocide in Palestine.” In late October 2023 – the same month as the Hamas terrorist attack in Israel – the award-winning Melbourne-based photographer posted on Instagram that she wants “Zionists out of our cultural spaces.”
Palestinian-Australian artist Feras Shaheen will put on the dance performance “Blocked Duwar” at the Campbelltown Arts Centre as part of the 2026 Sydney Biennale. In September 2025, the Tasmanian-based artist compared Jewish businessmen to Nazis in a social media post. He uploaded a photo that said, “Treat your local Zionist like you treat your local Nazi: Equality.” The message was featured over images of neo-Nazi Thomas Sewell, and Jewish arts philanthropist John Gandel and former Biennale donor and board member Morry Schwartz.
Photo: Screenshot
Schwartz responded to Shaheen’s social media post in an open letter last year to Kate Mills, chairman of the Biennale of Sydney. “I’m sure you’ll agree with me that a line has been crossed,” Schwartz wrote. “To equate John Gandel and me with Nazis is shocking. The Biennale will not survive this if you don’t act immediately.”
The offensive social media post has not been taken down by Shaheen.
Schwartz told The Australian Financial Review Magazine he had withdrawn his support for the Sydney Biennale, worried that its artistic director might turn the event into a “hate-Israel jamboree.”
Jewish leaders were given the opportunity to preview the Biennale of Sydney but declined the offer after being frustrated that the festival’s senior figures took no action against “objectionable” social media posts by artists included in the event, The Daily Telegraph reported this week.