Even more difficult than the question of whether or not we are collectively willing to break the law is the question of whether we are ready to embody what a “culture of sanctuary” holistically invites us to be.
In Jerusalem, Boehm said, there was a “very thin membrane” between the earthly and metaphysical.
That porousness is the origin of all the show’s marvelous art and of many of the city’s troubles, past and present. Almost lost on one wall of the show is a photograph of a glorious pulpit that stood in the Al-Aqsa Mosque from 1188 until 1969, when a delusional Australian torched it. He was trying to destroy the mosque so that the temple could be rebuilt to facilitate Jesus’ return.