The artist and activist Nan Goldin is outspoken about her views on Israel and the ongoing conflicts in Gaza and Lebanon. She has publicly signed protest letters condemning Israel’s actions in Gaza as “genocide” and has participated in pro-Palestinian protests, even being arrested during a demonstration in New York. In a recent interview, she stated that she has “been on a cultural boycott of Israel for my entire life.”

So when Goldin’s major exhibition, showcasing her photo slideshows and films, opened at the Neue Nationalgalerie in Berlin this past weekend, it seemed like an unusual occurrence in Germany. The country has seen lawmakers accuse those advocating for boycotts of Israel of antisemitism, with some artists facing cancelled shows, revoked prizes, and cancelled lectures for taking similar positions. However, none of these artists held the same level of fame and influence as Goldin, who has been a prominent figure in the art world for decades.

“If an artist like me is able to express political views without facing cancellation,” Goldin said during her speech at the exhibition’s opening, “I hope I can pave the way for other artists to speak out without fear of censorship.” She, a Jewish-American artist, accused Germany of equating criticism of Israel with antisemitism and overlooking the atrocities taking place in Gaza, which she described as a genocide.

Tensions flared during the 17-minute speech when some members of the audience began shouting an anti-Israel slogan, and the atmosphere escalated after the speech ended. Dozens of demonstrators in the crowd began chanting “Free, free Palestine” and waving Palestinian flags and banners, drowning out the response from Klaus Biesenbach, the director of the Neue Nationalgalerie, who disagreed with Goldin’s views but supported her right to voice them.

Germany’s culture minister, Claudia Roth, expressed her “horror” over Goldin’s remarks and the protesters’ actions, stating that while she appreciated Goldin’s art, she could not accept the artist’s “intolerably one-sided views on Israel.” Roth criticized the protesters for coming to the museum with the intention of disrupting the director’s speech rather than engaging with the art on display.

Some critics, however, argued that Biesenbach was to blame for the controversy. An essay in Die Welt called for his resignation, condemning the decision to give Goldin a platform as the “saddest, most undignified and shameful moment” in the gallery’s history, marking “a new low point in German cultural policy.”

Germany has been embroiled in debates about Israel since 2019, when Parliament passed a resolution urging regional governments to deny funding to any groups supporting the Boycott, Divestment, and Sanctions (BDS) movement, which lawmakers view as threatening Israel’s existence. Since then, institutions have used this resolution to justify canceling exhibitions and events. After Hamas attacked Israel on October 7, 2023, many artists critical of Israel complained that their works were being excluded as well.

Earlier this month, the German government passed a new resolution reinforcing its opposition to boycotts, urging regional authorities to ensure that projects with “antisemitic goals or content” are not funded. This has already had an impact, with the Schelling Architecture Foundation retracting a prize it had planned to give to British writer James Bridle, who had signed a pledge to boycott Israel.

Meron Mendel, the director of the Anne Frank Educational Center, noted that fewer artists were being penalized for their stance on Gaza, as public attention on the issue had started to fade. Mendel, speaking before Goldin’s exhibition, expressed surprise that her show had not attracted more attention from lawmakers, unlike other artists whose opportunities were canceled over their political stances.

Goldin’s exhibition, titled “This Will Not End Well,” focuses on intimate relationships within her circle, including marginalized groups like people living with AIDS and transgender individuals. Although the exhibition is not directly related to Israel or Palestine, Goldin’s past work in activism has centered on various causes, including fighting against the Sackler family’s sponsorship of museums due to their connection to the opioid crisis.

Goldin declined several interview requests for this article, including one from The New York Times, which she has previously criticized for its perceived bias in favor of Israel. The exhibition’s related events, including a planned symposium on the Gaza conflict, faced delays after it was revealed that Goldin had not approved it. Some panelists withdrew from the event, and protests over its content ensued.

Despite these controversies, the exhibition at the Neue Nationalgalerie was packed, with long lines forming outside the museum. Many attendees, like medical student Selina Schaffner, found Goldin’s work controversial but appreciated her ability to spark important discussions.

Biesenbach, despite the uproar, stated that he had no regrets about hosting the exhibition. “I hope this highly visible exhibition will become a catalyst for more discussions, turning challenges into opportunities to talk and feel empathy,” he said. “I believe it will help keep doors open and demonstrate the lasting power of art.”