The Canadian Museum for Human Rights in Winnipeg is facing significant public scrutiny over its planned exhibition on the Palestinian 'Nakba,' with prominent commentator Avi Benlolo leading calls for its suspension. The controversy highlights growing tensions over how Middle East history is presented in Canadian public institutions.
Exhibition Sparks Institutional Concern
In late November 2025, Benlolo formally appealed to museum CEO Isha Khan, Heritage Minister, and Prime Minister Mark Carney, requesting an immediate review and suspension of the scheduled exhibit. The planned display, titled Palestine Uprooted: Nakba Past and Present, aims to document events surrounding Israel's establishment from a Palestinian perspective.
Benlolo argues that publicly funded institutions like the CMHR must maintain strict neutrality and balance in their exhibitions. As a museum of human rights, it must uphold its commitment to founding principles grounded in balance and neutrality, he emphasized in his communications with officials.
Historical Accuracy and Political Implications
The term 'Nakba,' meaning 'catastrophe' in Arabic, refers to the displacement of Palestinians during Israel's creation in 1948. Benlolo contends the terminology itself is politically charged, suggesting it inherently delegitimizes Jewish self-determination by framing Israel's establishment as a catastrophic event.
He further notes that Arab rejection of the 1947 United Nations partition plan, which proposed separate Jewish and Arab states, preceded the conflict that caused displacement. The Arabs rejected the partition plan and went to war with the nascent State of Israel, Benlolo stated, challenging the exhibit's historical framing.
Broader Pattern of Palestinian Advocacy
This museum controversy follows other recent events that have raised concerns among some community members. In recent weeks, Palestinian flags were raised outside Toronto city hall and other municipal buildings across Canada. Benlolo describes these developments as part of a coordinated effort to normalize Palestinian statehood narratives within Canadian public discourse.
The museum's current staffing situation adds another layer to the controversy. Despite lacking a head of exhibitions according to its website, the institution appears determined to proceed with the exhibit, suggesting strong institutional support for the presentation.
As the debate continues, the CMHR faces mounting pressure to reconsider its programming decisions. The outcome may set important precedents for how Canadian cultural institutions navigate politically sensitive historical narratives while maintaining public trust and institutional integrity.
