Israel Probes Legality of US Giving Artifact to Palestinians

A 2,700-year-old ivory incense spoon plundered from a site in the occupied West Bank — seized in late 2021 by the Manhattan District Attorney's office as part of a plea deal with billionaire hedge fund manager Michael Steinhardt, displayed at the Palestinian Ministry of Tourism and Antiquities in the West Bank city of Bethlehem, Thursday, Jan. 19, 2023. (AP)
A 2,700-year-old ivory incense spoon plundered from a site in the occupied West Bank — seized in late 2021 by the Manhattan District Attorney's office as part of a plea deal with billionaire hedge fund manager Michael Steinhardt, displayed at the Palestinian Ministry of Tourism and Antiquities in the West Bank city of Bethlehem, Thursday, Jan. 19, 2023. (AP)
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Israel Probes Legality of US Giving Artifact to Palestinians

A 2,700-year-old ivory incense spoon plundered from a site in the occupied West Bank — seized in late 2021 by the Manhattan District Attorney's office as part of a plea deal with billionaire hedge fund manager Michael Steinhardt, displayed at the Palestinian Ministry of Tourism and Antiquities in the West Bank city of Bethlehem, Thursday, Jan. 19, 2023. (AP)
A 2,700-year-old ivory incense spoon plundered from a site in the occupied West Bank — seized in late 2021 by the Manhattan District Attorney's office as part of a plea deal with billionaire hedge fund manager Michael Steinhardt, displayed at the Palestinian Ministry of Tourism and Antiquities in the West Bank city of Bethlehem, Thursday, Jan. 19, 2023. (AP)

An ivory spoon dating back 2,700 years that was recently repatriated to the Palestinian Authority from the United States has sparked a dispute with Israel's new far-right government over the cultural heritage in the occupied West Bank.

The clash brings into focus the political sensitivities surrounding archaeology in the Middle East, where Israelis and Palestinians each use ancient artifacts to support their claims over the land.

Israel's ultranationalist heritage minister has ordered officials to examine the legality of the US government's historic repatriation of the artifact to the Palestinians earlier this month, and is calling for annexing archaeology in the occupied West Bank.

The artifact — a cosmetic spoon made of ivory and believed to have been plundered from a site in the West Bank — was seized in late 2021 by the Manhattan District Attorney's office as part of a deal with the New York billionaire hedge fund manager Michael Steinhardt.

It was one of 180 artifacts illegally looted and purchased by Steinhardt that he surrendered as part of an agreement to avoid prosecution.

American officials handed an artifact over to the Palestinian Ministry of Tourism and Antiquities on Jan. 5 in what the US State Department’s Office of Palestinian Affairs said was "the first event of such repatriation" by the US to the Palestinians.

Dozens of Steinhardt’s surrendered artifacts have already been repatriated to Italy, Bulgaria, Greece, Türkiye, Jordan, Libya and Israel. This spoon was the first and only item ever to be repatriated to the Palestinians.

The repatriation coincided with the first weeks of Israel's new government, which is composed of ultranationalists who see the West Bank as the biblical heartland of the Jewish people and inextricably linked to the state of Israel.

Heritage Minister Amihai Eliyahu’s office said last week that the legality of the repatriation "is being examined by the archaeology staff officer with the legal counsel, which will examine all aspects of the matter, including the Oslo Accords that the US has signed."

The case underscores how archaeology and cultural heritage are intertwined with the competing claims of the Israelis and Palestinians in the decades-long conflict.

"Any artifact that we know that it comes out illegally from Palestine, we have the right to have it back," said Jihad Yassin, director general of excavations and museums in the Palestinian Tourism and Antiquities Ministry. "Each artifact says a story from the history of this land."

The ministry is part of the Palestinian Authority, the government established as part of the Oslo Accords in the 1990s that exercises limited autonomy in parts of the Israeli-occupied West Bank.

Those agreements between Israel and the Palestinians were supposed to include coordination on a raft of issues, including archaeology and cultural heritage.

But the agreements have largely unraveled. Yassin said that the archaeology committee has not met in around two decades, and that there is virtually zero coordination between Israel and the Palestinians concerning antiquities theft prevention in the West Bank.

"We try to do our best to protect these archaeological sites, but we face difficulties," he said.

Yassin said that around 60% of the West Bank's archaeological sites are in territory under complete Israeli military control, and that his ministry's theft prevention workers "manage to control in a high percentage the looting" in areas under Palestinian Authority control.

Nonetheless, many of the illicit artifacts that have made their way to Israel's legal antiquities market were looted from the West Bank, he said.

According to court documents, Steinhardt bought the ivory cosmetic spoon in 2003 from Israeli antiquities dealer Gil Chaya for $6,000. The artifact had no provenance — paperwork detailing where it came from and how it had entered the dealer's inventory — but Chaya said the object was from the West Bank town of El-Koum, which is under Palestinian Authority control.

Another artifact believed to have been looted from the same town, a "Red Carnelian Sun Fish amulet (that) dates to circa 600 B.C.E.," remains missing, according to the DA's office. Steinhardt has yet to locate the item, but if it is found, it will be repatriated to the Palestinians, the office said.

American authorities returned 28 objects to Israel last year, not including three that were seized in place at the Israel Museum of Jerusalem. Seven others meant to be returned to Israel have yet to be found. Several of the items returned to Israel are believed to have been looted from the West Bank.

The Israel Antiquities Authority declined comment on the artifact’s repatriation to the Palestinians.

Heritage Minister Eliyahu, a religious ultranationalist in Netanyahu's government now in charge of the country’s Antiquities Authority, denies the existence of a Palestinian people.

Since taking office, he has accused the Palestinian Authority of committing "national terrorism" and "erasing heritage" at an archaeological site in a Palestinian-controlled area near the West Bank city of Nablus.

It remains unclear what impact, if any, a review by the ministry's legal counsel could have. It appears unlikely Israel could confiscate the artifact from the Palestinians, but a legal opinion against the move could potentially complicate future repatriations.

Earlier this week, Eliyahu said he would be giving the Israel Antiquities Authority full control over archaeological sites, cultural heritage and theft prevention throughout the West Bank — a move that critics say would in effect apply Israeli law over occupied territory in breach of international law.

Currently, archaeological excavations and antiquities in the West Bank are managed by the Civil Administration's archaeology staff officer, which is part of the Defense Ministry. Israel has not formally annexed the West Bank, and the territory is treated as occupied and is governed under military law.

"All heritage on both sides of the green line will earn full protection, at an international and scientific standard," Eliyahu wrote in a Facebook post on Sunday. He said the state of Israel would "act in a uniform and professional manner from the (Mediterranean) sea to the Jordan."

Alon Arad, director of Israeli cultural heritage non-governmental organization Emek Shaveh, said that putting the Israel Antiquities Authority in charge of archaeology in the occupied territory was "activating Israeli law in the West Bank, which means annexation."

Eliyahu’s office declined repeated interview requests.

Yassin said that for the time being, the artifact will remain at the ministry, where it will be studied by one of its archaeologists. Then, he said, it will be displayed at one of the West Bank's museums.

"It's not the only one," Yassin said. "It is the beginning."



Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
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Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)

The world's main coffee-growing regions are roasting under additional days of climate change-driven heat every year, threatening harvests and contributing to higher prices, researchers said Wednesday.

An analysis found that there were 47 extra days of harmful heat per year on average in 25 countries representing nearly all global coffee production between 2021 and 2025, according to independent research group Climate Central.

Brazil, Vietnam, Colombia, Ethiopia and Indonesia -- which supply 75 percent of the world's coffee -- experienced on average 57 additional days of temperatures exceeding the threshold of 30C.

"Climate change is coming for our coffee. Nearly every major coffee-producing country is now experiencing more days of extreme heat that can harm coffee plants, reduce yields, and affect quality," said Kristina Dahl, Climate Central's vice president for science.

"In time, these impacts may ripple outward from farms to consumers, right into the quality and cost of your daily brew," Dahl said in a statement.

US tariffs on imports from Brazil, which supplies a third of coffee consumed in the United States, contributed to higher prices this past year, Climate Central said.

But extreme weather in the world's coffee-growing regions is "at least partly to blame" for the recent surge in prices, it added.

Coffee cultivation needs optimal temperatures and rainfall to thrive.

Temperatures above 30C are "extremely harmful" to arabica coffee plants and "suboptimal" for the robusta variety, Climate Central said. Those two plant species produce the majority of the global coffee supply.

For its analysis, Climate Central estimated how many days each year would have stayed below 30C in a world without carbon pollution but instead exceeded that level in reality -- revealing the number of hot days added by climate change.

The last three years have been the hottest on record, according to climate monitors.


Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
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Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)

A dog decided he would bid for an unlikely Olympic medal on Wednesday as he joined the women's cross country team free sprint in the Milan-Cortina Games.

The dog ran onto the piste in Tesero in northern Italy and gamely, even without skis, ran behind two of the competitors, Greece's Konstantina Charalampidou and Tena Hadzic of Croatia.

He crossed the finishing line, his moment of glory curtailed as he was collared by the organizers and led away -- his owner no doubt will have a bone to pick with him when they are reunited.


Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
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Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 

Long known for its olives and seaside charm, the southern Greek city of Kalamata has found itself in the spotlight thanks to a towering mural that reimagines legendary soprano Maria Callas as an allegory for the city itself.

The massive artwork on the side of a prominent building in the city center has been named 2025’s “Best Mural of the World” by Street Art Cities, a global platform celebrating street art.

Residents of Kalamata, approximately 240 kilometers (150 miles) southwest of Athens, cultivate the world-renowned olives, figs and grapes that feature prominently on the mural.

That was precisely the point.

Vassilis Papaefstathiou, deputy mayor of strategic planning and climate neutrality, explained Kalamata is one of the few Greek cities with the ambitious goal of becoming climate-neutral by 2030. He and other city leaders wanted a way to make abstract concepts, including sustainable development, agri-food initiatives, and local economic growth, more tangible for the city’s nearly 73,000 residents.

That’s how the idea of a massive mural in a public space was born.

“We wanted it to reflect a very clear and distinct message of what sustainable development means for a regional city such as Kalamata,” Papaefstathiou said. “We wanted to create an image that combines the humble products of the land, such as olives and olive oil — which, let’s be honest, are famous all over the world and have put Kalamata on the map — with the high-level art.”

“By bringing together what is very elevated with ... the humbleness of the land, our aim was to empower the people and, in doing so, strengthen their identity. We want them to be proud to be Kalamatians.”

Southern Greece has faced heatwaves, droughts and wildfires in recent years, all of which affect the olive groves on which the region’s economy is hugely dependent.

The image chosen to represent the city was Maria Callas, widely hailed as one of the greatest opera singers of the 20th century and revered in Greece as a national cultural symbol. She may have been born in New York to Greek immigrant parents, but her father came from a village south of Kalamata. For locals, she is one of their own.

This connection is also reflected in practice: the alumni association at Kalamata’s music school is named for Callas, and the cultural center houses an exhibition dedicated to her, which includes letters from her personal archive.

Artist Kleomenis Kostopoulos, 52, said the mural “is not actually called ‘Maria Callas,’ but ‘Kalamata’ and my attempt was to paint Kalamata (the city) allegorically.”

Rather than portraying a stylized image of the diva, Kostopoulos said he aimed for a more grounded and human depiction. He incorporated elements that connect the people to their land: tree branches — which he considers the above-ground extension of roots — birds native to the area, and the well-known agricultural products.

“The dress I create on Maria Callas in ‘Kalamata’ is essentially all of this, all of this bloom, all of this fruition,” he said. “The blessed land that Kalamata itself has ... is where all of these elements of nature come from.”

Creating the mural was no small feat. Kostopoulos said it took around two weeks of actual work spread over a month due to bad weather. He primarily used brushes but also incorporated spray paint and a cherry-picker to reach all edges of the massive wall.

Papaefstathiou, the deputy mayor, said the mural has become a focal point.

“We believe this mural has helped us significantly in many ways, including in strengthening the city’s promotion as a tourist destination,” he said.

Beyond tourism, the mural has sparked conversations about art in public spaces. More building owners in Kalamata have already expressed interest in hosting murals.

“All of us — residents, and I personally — feel immense pride,” said tourism educator Dimitra Kourmouli.

Kostopoulos said he hopes the award will have a wider impact on the art community and make public art more visible in Greece.

“We see that such modern interventions in public space bring tremendous cultural, social, educational and economic benefits to a place,” he said. “These are good springboards to start nice conversations that I hope someday will happen in our country, as well.”