[Page 148 of Bawer's While Europe Slept] "In January 2004, Swedish anti-Semitism made headlines around the world. The occasion was Snow White and the Madness of Truth, an art installation at Stockholm's Museum of National Antiquities that consisted of a toy sailboat floating in a pool of blood in the museum's courtyard. Serving as the boat's sail was a portrait of a beautiful, smiling young woman - Palestinian suicide bomber Hanadi Jaradat, who a few months earlier had killed twenty-one people in Haifa. Accompanying the installation was a text that alternated lines from 'Snow White' by the Brothers Grimm with excerpts from news stories about Jaradat, who sought to avenge her brother's death at the hands of Israeli security forces. The intent of the 'artist' was plainly to win sympathy for Jaradat and to equate terrorism with legitimate national defense; the exhibition catalog even described Jaradat as a 'freedom fighter.' "In short, Snow White was a predictable piece of left-wing political art, romanticizing and aestheticizing Middle Eastern terrorism from a safe distance. It would probably have remained obscure but for one simple act: at a reception celebrating the exhibition opening, Zvi Mazel, the Israeli ambassador to Sweden, unplugged the three spotlights that illuminated Snow White. He was immediately escorted out of the museum. When news of his action (which was duly characterized as vandalism) got out, the Swedish foreign ministry rebuked him and the Israeli government cheered. Commentators around the world denounced Mazel, some of them sounding more outraged by the unplugging of the spotlights than by the murder of twenty-one people. Largely lost in the controversy was the fact that the art exhibition was tied to a conference on genocide that was supposed to focus on the Holocaust; apparently at the Stockholm art museum, as the Jewish Museum in Berlin, it was impossible to contemplate the Shoah without invoking the conceit that the Palestinians are today's Jews and the Jews are today's Nazis." Lawrence