Documenta fifteen, the 2022 edition of the international exhibition of contemporary art held every five years in Kassel, Germany, provides a too-timely case study of the dynamics at play in current-day controversies relating to cultural antisemitism. Scandals around at least one case of genuinely antisemitic imagery, alongside several accusations of various merit, generated headlines like “Kassel Horror Show” and “Antisemita 15” and far overshadowed the art. Reading the debates alongside the artworks, this essay analyzes how public speech on the exhibition practiced and critiqued antisemitism discourse. In the debates around the art exhibition, “the Jews” were used, not for the first time, as hermeneutic space and hermeneutic tools. A self-described postcolonial strain of criticism viewed the antisemitism charges as racist or bigoted towards exhibition artists, who largely hailed from the Global South. Defenders of the exhibition characterized antisemitism discourse, or speech about and concern with antisemitism, as legalistic, inflexible, acquisitive, vengeful, elite, conspiratorial, modernizing, and abstract—all qualities that antisemitic discourses ascribe to Jews and Judaism. These controversies thus suggest a category I analyze as Judaizing antisemitism. This work analyzes how the Documenta controversies rhetorically oppose this Judaizing antisemitism to discourses of anti-racism and anti-imperialism, and considers what analytic possibilities doing so foreclosed. It looks especially at two strands of this Judaizing critique: first against legalism, viewed through the theological concept of antinomianism, and second against abstraction.