
Updated:
de Young Museum
Critically Deficient
Behind the Frame
Behind the Frame evaluates 40 of the nation's leading art museums across three areas: their policies, their representation of Jewish art and artists and their partnerships and community engagement. These criteria assess a museum’s record and its current approach to addressing antisemitism. Collections and exhibitions reflect long-lead decisions museums plan five to ten years in advance, while policies and inclusion practices signal how prepared an institution is for the future and the evolving nature of antisemitism. Each museum receives a rating — from Critical Condition to Gold Standard — based on how it measures up.
As the ADL Center on Extremism has documented, extremist activists have facilitated coordinated efforts since October 7, 2023 to push Jewish and Israeli voices out of mainstream cultural spaces, with the impact felt at the staff, curator and visitor levels. Most American museums hold significant collections of Jewish art, but owning the work is not enough. Policies, programming and inclusion commitments must protect and feature Jewish artists, staff and patrons amid rising antisemitism. These criteria assess both a museum’s record and its current approach to addressing antisemitism.

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Gold Standard
Good Showing
Work In Progress
Not Inclusive
Critically Deficient

Updated:
Critically Deficient
Critically Deficient
Good Showing
Critically Deficient
The de Young Museum is located in San Francisco’s Golden Gate Park and, together with the Legion of Honor, forms the Fine Arts Museums of San Francisco. Founded in the late nineteenth century, the de Young is particularly known for American art, textiles and costumes, and art from Africa, Oceania, and the Americas.
Jewish representation is one of the de Young’s only strong areas. Its collection includes substantial work by Jewish artists and Jewish-subject material, and Judy Chicago: A Retrospective prominently included work from The Holocaust Project, including Rainbow Shabbat and Treblinka Genocide. Jewish identity was part of the exhibition’s public framing.
Israeli artists are present in the collection, but the research found little recent exhibition visibility. Provenance disclosure exists through the Fine Arts Museums of San Francisco, but its public work is focused more heavily on NAGPRA and repatriation than on Nazi-era provenance, earning only partial credit under the methodology.
The museum’s visitor policies prohibit discrimination and harassment, but visitors are otherwise directed to general contact channels rather than a dedicated reporting mechanism. The museum also has a reporting procedure listed in its Employee Handbook.
No public policy was found that explicitly prohibits antisemitism. As a City museum, de Young follows City-mandated guidelines regarding protests, which do not prohibit protests, but do limit the location of protests.
The research did not identify sustained Jewish institutional partnerships or substantive Jewish educational programming. The de Young recognizes several other heritage months but has historically not recognized Jewish American Heritage Month.
The de Young’s strong Jewish representation is outweighed by substantial gaps elsewhere. Israeli exhibition visibility is limited, Jewish partnerships and educational programming are absent, Nazi-era provenance transparency is incomplete, Jewish American Heritage Month has historically gone unrecognized, and explicit antisemitism protections are lacking. These shortcomings support a critically deficient assessment.
State of the Arts becomes an accessible public home for research, profiles, storytelling, and advocacy that can continue to grow over time.
If you are an artist, writer, performer or member of the arts and culture community who has experienced or witnessed antisemitism, bias or discrimination, please Report an Incident to ADL. If you are seeking legal support, you can also submit a request to ADL’s Legal Action Network.