Not “Your” City—”Everyone’s” City

Last fall, the art historian Victoria C. Gardner Coates published an op-ed article in the Wall Street Journal suggesting that the utopian multicultural paradise imagined by the Metropolitan Museum of Art in Jerusalem 1000-1400: Every People Under Heaven was being used to promote a particular political position concerning the status of today’s Jerusalem. The exhibition functioned, in her words, “as a highbrow gloss on the movement to define Jerusalem as anything but Jewish, and so to undermine Israel’s sovereignty.”

Coates’s article provoked a letter to the editor from Thomas P. Campbell, the Metropolitan’s director and chief executive officer (until his sudden resignation in late February). Objecting to Coates’s “extraordinarily narrow perspective,” Campbell assured readers of the Journal that, far from engaging in an anti-Israel “conspiracy”—his word, not hers—the museum’s purpose in mounting this “unprecedented gathering of masterpieces from the three Abrahamic faiths” was simply to “reveal the richly intertwined nature of these various aesthetic traditions at a fascinating moment in Jerusalem’s history.”

“If anyone has chosen to politicize the exhibition,” Campbell concluded, “it is Ms. Coates.”