A qualified improvement.

Being an activist has become the artist’s and intellectual’s self-celebratory vocation.

Anti-American epic.

The Brutalist's foundation as a film is fundamentally shaky.

And how Jews used art to send messages about themselves.

Anything done to the Jews in Israel will be justified.

Many recent Hollywood movies seem to exhibit a fear of showing too much Jewish particularism. Why?

The Jewish story of redemption doesn’t just involve enduring suffering, but actually imposes obligations.

Assuming no education, offering little knowledge, and affecting not to care about either, New York's Jewish Museum promises to inspire new forms of an “ever-changing” Jewish identity.

The Bible molded modern English and shaped American society and culture. Now, as attacks on the Museum of the Bible suggest, it has been cripplingly tossed aside.

Misreading God of Vengeance.

Explore how the Met's Jerusalem exhibit distorts history, downplays Jewish ties, and reflects troubling trends in Western museums.

How the Met, in its exhibition Jerusalem 1000-1400 and in its defense against critics of that exhibition, exploits the vocabulary of openness.

An exhibition on the diverse multiculturalism of medieval Jerusalem has been ecstatically received. There's just one problem: the vision of history it promotes is a myth.

They are still invoking dated forms of self-abnegation, or engaging in more or less ignorant forms of advocacy, or yearning for a vague universalism.

Ours is an era of museums celebrating the identity of nearly every group and ethnicity. But something else takes place when the identity in question is Jewish.

A remarkable concert reintroduces three Jewish composers who fled fascist Europe to America, where two of them pioneered a new art form—the symphonic film score.

As a powerful new exhibit shows, the 16th president felt a close connection to the Jewish people. Why?