Guest Post: Retired FBI Special Agent Geoff Kelly

The Gardner theft case agent for two decades shares his thoughts in advance of his forthcoming book, Thirteen Perfect Fugitives. (Glitches corrected)

I retired as a special agent with the FBI after nearly three decades of service. For twenty-two of those years, right up until my retirement, I was the case agent on the world’s largest art heist, investigating a truly compelling crime that began on March 18, 1990 with the simple opening of a door at the Isabella Stewart Gardner Museum in Boston.

When I was first assigned the case back in 2002, the statute of limitations; that is, the period in which a subject can be charged with a crime, had been expired for more than seven years, so I opted to take a more unconventional and unorthodox approach to recovering the lost artwork.

Instead of working it as a traditional stolen property case, I worked it as a fugitive investigation. Essentially, I was searching for thirteen fugitives. But unlike their human counterparts, these fugitives were – and still are - unencumbered by the everyday tasks and mundane appointments which eventually lead to any fugitive’s apprehension. All they need to do is hide, which made them perfect fugitives. Thirteen perfect fugitives, to be precise. And with a $10 million bounty being offered for their capture, it’s also a pretty lucrative treasure hunt, too.

The key to any fugitive investigation is publicity; the more the better. I reasoned that if we saturated the media with images of my fugitives, then perhaps one of these might resonate with somebody, somewhere. Through the years, the FBI implemented media campaigns which highlighted the lost treasures; we posted frequently on social media, rented billboard space, and even produced some pretty slick videos.

I was profoundly impressed with the FBI’s forbearance on the Gardner case, since it followed none of the conventions and protocols of a typical investigation. It remains, of course, a pending matter, and typically when the FBI is pressed for details regarding an ongoing case, the official response is a laconic, “no comment.” This case was different, however, and the overwhelming majority of agents in executive management, both in the Boston field office and at FBI Headquarters, rightly understood that an investigation this unique required an equally unique approach. I argued that publicity was key to solving this case and apprehending the fugitives - all thirteen of them - and they listened.

Thirteen Perfect Fugitives contains my reflections and observations of the case, gleaned from more than two decades of investigation into the world’s largest art heist. During that time, I changed squad assignments a number of times, yet the case always remained with me. For an agent to be assigned the same case for such a lengthy period of time is not a testament to my investigative prowess; rather, it’s a testament to the FBI. During my tenure on the Gardner case, I went 0 for 13, yet the Bureau continued to entrust me with the investigation, to wear either as a badge of honor upon my chest or as an albatross around my neck, depending on your perspective.

I’ve been asked so many questions about the case. The question most often asked of me is the obvious one, “Where are the paintings?” That’s a great one, and my response is usually, “I was hoping you’d tell me.” The simple fact is that I don’t have an answer to that question, at least not a definitive one.

The second most often asked question is “Will they ever be found?” That’s an easy one. Yes, I state simply, they will be found. As a student of art theft, I would have been remiss in my investigation if I hadn’t looked to past thefts as an indication of future success. And through years of research and first-hand experience, I’ve learned that stolen art is recovered in one of two ways: either shortly after its theft, or through subsequent generations. Throughout my career, I’ve recovered a number of pieces of art and cultural property which had been reported lost or stolen decades earlier. The important takeaway from these recoveries is the simple fact that to a centuries-old piece of artwork, the concept of decades is essentially meaningless.

“Who did it?” is another big question, and I think I can answer that one. Thirteen Perfect Fugitives lays out a logical narrative which provides insights into the heist, details confirmed sightings of some of the pieces, and draws what I believe are some reasonable conclusions about who robbed the museum. In the book, I present facts which were obtained from countless interviews, undercover operations, court transcripts, search warrants, and a whole lot of digging—both literally and figuratively.

Another question frequently asked of me has always been the most complicated one to answer: “When are you going to write a book?” I’d typically point out that the story - while riveting - is missing the final chapter. But with some gentle prodding from my good friend and colleague, Anthony Amore, with whom I worked the case for so many years, I came to realize that a book about the Gardner heist would not be as cliffhanger-ish as I always assumed. There was actually a really compelling story to tell; one of murder, art theft, and organized crime, and the sinister neighborhood where all of these storylines intersect (definitely a roll-up-the-windows-and-lock-your-doors type of neighborhood). I also believe that I have an obligation to memorialize the investigation into a crime of such historical importance, as well as to dispel the spurious theories and myriad false narratives that have clung to this heist like a stubborn cold.

There was another argument against writing a book which was more existential: there was absolutely no way, I reasoned, the FBI would allow me to write a book in which I provide insights and details about an investigation which is very much pending. I was surprised and grateful for the FBI’s approval, and with my last excuse eliminated, I set to work on the story that became Thirteen Perfect Fugitives.

They’re out there, somewhere, these thirteen perfect fugitives. Let me know if you find them.

Thirteen Perfect Fugitives: The True Story of the Mob, Murder, and the World’s Largest Art Heist will be released on March 10, 2026, published by Post Hill Press and distributed by Simon & Schuster.