Zionhass at Paree's Jeu de Paume

It used to house a collection of Impressionists, but the impression it conveys with its latest exhibit is that, in certain contexts, murdering Joooos can be très artisitic:

This Summer the French National Museum, the Jeu de Paume, once famous for its display of Impressionist paintings, is hosting an astonishing photography exhibit, Phantom House. The work of an Israeli Bedouin woman, Ahlam Shibli, it assembles an eclectic series of photographs that depict a number of different groups whose homes are really not theirs, or who do not have homes—people who “live under oppression.” These include Bedouin “Trackers” who enlist in the IDF, “Palestinians” living in the Galilee and Jordan, Polish children in orphanages, Middle Eastern LGBTs who live in Western countries, the French of Corrèze during the Nazi occupation, and, in by far the most elaborate of the exhibits, the Palestinian families of “martyrs” who “resisted” the “occupation,” standing with the pictures, posters, and graves of their “disappeared” relatives. 

The exhibit has elicited predictable controversy. These alleged “martyrs” who “took control of their own deaths,” the object of loving devotion by their families, are actually mass murderers who killed themselves in order to murder as many children, women, civilians as they could. Like so much of the Palestinian narrative, these photos give no place to the “other” except as faceless colonial oppressors. For one Jewish woman, a patron of the museum, the experience was horrifying. Looking at these pictures of “martyrs,” she recognized people who had blown up restaurants and buses, which were chosen precisely because there were children there. 

Outraged objections poured in. The museum’s response was to post a notice that insisted that this was not propaganda and quoted the artist insisting that she was “not a militant, not judgmental.”...