should ask beyonce. i think she has the ability, the talent, the passion, fans that she can quite frankly go wherever she would like to go. >> where she's going next is the documentary world. she is the director of the story of her life that airs this month on hbo. >> power is not given to you. you have to take it. you're playing a part in a much bigger show. and that's what life is. >> we learned more about the personal details she usually withholds, such as the miscarriage she suffered prior to blue ivy. but even before the documentary aired, she was becoming a little freer with personal information, thanks to a large and active tumblr site. >> if they're posting it, you're supposed to know it. if they're not posting it, you ain't supposed to know it. >> what the online and documentary projects have in common is that beyonce controls the content.

after the doc, there's a world tour. mrs. carter? that's beyonce confirming four years later that she's married to jay-z whose given name is shawn carter. and details on the next album, writer/producer neo promises whatever music she produces in the future will push the edges creatively. >> she's not afraid to take a risk, not afraid to take a shot. she's not afraid to do this. if you hit, you hit. if you don't, you don't. >> but aside from admitting to some recording sessions with beyonce, he won't say any more. >> i'm not going to be the one to let the cat out of the bag. y'all ain't fixing to get me in trouble, no, sir. nobody has the patience to wait for the greatness. everyone wants it quick, quick, quick. if you take the time to wait for it, it makes it that much better when you actually get it. >> wait for it, world. the tour is coming. her website is promoting it.

the rest, she'll tell you when she's good and ready. hello, welcome to this special report. 81 minutes inside the greatest art heist in history. the greatest in dollars and daring and just how long investigators have been baffled. however, that could soon be changing. here's 360's randy kaye. >> its a beautiful and priceless collection. hundreds of millions of dollars worth of art housed inside these walls. the isabella stewart gardner museum in boston. visitors from all over the world come to see these masterpieces. but that's not all they're looking at. they are also looking at a crime scene.

in fact, a crime scene from the biggest art heist in history still unsolved. and this is all that's left. it is one of the art world's greatest mysteries. who stole these priceless works of art? and how have they managed to elude investigators all over the world for more than two decades? 13 works of art stolen, paintings by rembrandt, vermeer, manet, flinck, sketches by degas. a chinese bronze beaker and a finial that set on top of a napoleonic flag. all taken in the dark of night. all together, worth $500 million. $500 million. and not one has ever been found. >> i'm randy kaye outside the isabella stewart gardner museum. this is where it all began march 18th, 1990.

it was st. patrick's weekend. there was a house party at the building right behind the museum. some time after midnight, a group of young men left the party and spotted a car with what looked like two bosn police officers inside. they had no idea these two men weren't really police officers. and no clue that just a short time later, these two men would pull off the greatest art heist in history. >> come in, clock in, there would be two guards. >> reporter: rick abbot was one of the night watchmen on duty the night of the crime. until now, he'd never done a television interview about what happened that night. rick was 23 years old back in 1990. he had been working at the museum for about a year. the guard's shift began at 11:30 p.m. a shift that most nights was uneventful. >> boring. yeah, sit around, walk around,

basically. one guy would go up and start his rounds, and then when he came back, the other would get behind the desk and the other person would go up. >> on this night, things would be far from boring. during the night shift, there is always one guard manning the computer at the security desk by the side door. the employee entrance, which was the only way into the museum at night. that door was locked. so anyone who wanted to get into the museum would have to ring the buzzer. the guard on duty at the desk could see who was ringing that buzzer through a security camera perched outside right above the door. the camera is in plain sight. if there was trouble, the guard had just one way of alerting the outside world. a panic button at the security desk. but it wasn't so easy to reach. >> you know, the same kind of panic button like at a bank. it was up on the underside of

the desk. but it was a fairly long desk and the computer was all the way over to the left and it was almost all the way over to the right. so it wasn't just within arm's reach. >> reporter: still, rick abbot never found any reason to use that panic button. that is until the night of march 18th. that night was unusual from the moment rick arrived at work. he learned his usual partner had called in sick. they couldn't find anyone else, so they paired him with a daytime gallery guard. >> when i got there, you know, my partner was there -- well, i knew him. i didn't know him very well. i knew him from just around the locker room and he was the only person they could get. so i figured i'd take the first round. >> that first round takes longer than usual. the fire alarm goes off for no

apparent reason. so does another alarm on the fourth floor. after all that, rick returns and the gallery guard takes his turn making the rounds. the clock reads 1:24 a.m. and rick is alone at the guard desk. suddenly, the night takes a dangerous turn. >> he rang the doorbell. i could see him on the outside camera. i could see him walking down the street. i thought they were just clearing drunks off the street. there were a lot of drunken people in the street that particular night. but then they stopped and buzzed the buzzer. i leaned over to the intercom and i said yeah? and they said boston police, we got a report of a disturbance on the premise. so i buzzed them in. >> that decision to buzz them in is something rick abbot has had to live with for the past 23 years.

>> the night watchman, against protocol, allowed them into the museum. >> anthony amore is the security director for the isabella stewart gardner museum. he's also an active investigator on this case. he says back in 1990, no one was allowed into the museum after hours. not even police officers. but rick, the security guard, said he'd routinely buzz in museum employees afterhours. even the museum director. >> i was never verbally told that to the best of my knowledge. i'm sure there was a policy written somewhere. but it wasn't the culture of the place, for the most part. people came in and out of there fairly regularly. at least once a month, we'd let someone in. >> so it was not unusual for rick to hear that buzzer go off. on this night, rick says he had no doubt. it really was the boston police at the entrance. >> they were standing there. their hats, coats and badges,

and looked like policemen and buzzed them into the museum. and one of them came right over to my desk. and one of them kind of stood in the alcove right there, looking around. it didn't seem particularly odd to me, and he came up to me and the one guy, they asked me if i was alone. i said that no, my partner was off doing a round. i said get him down here. i called him on the radio. >> within seconds, rick's partner joined him at the security desk. >> the cop that was dealing with me turned to me and said don't i know you? don't i recognize you? i think there's a warrant out for your arrest. can you step out from behind the desk? and i'm sitting there and i looked the way i looked. i don't look substantially

different other than i didn't have any white hair then. and, you know, i had my berkley college of music tie-dye on. i did have the gardner security shirt on, but it was over my tie dye, and it was unbuttoned, and i said, okay, i know how this looks. it looks like i put these guard clothes on over my street clothes. >> here, rick makes another grave mistake. he steps away from the security desk and away from the panic button. his only way to contact the outside world. his only way to prevent what was about to happen. so i came out from behind the desk and i gave him my driver's license and i gave him my security i.d., and i think i was kind of sing-songy, sarcastic about it, i really work here. and he said up against the wall. there's a warrant out for your arrest. and so i put my hands up against the wall and he handcuffed me. he didn't frisk me. he just put a cuff on me.

and that's when i heard my partner behind me. shouting out, officers, why are you arresting me? why are you arresting me? and i was just like it's over. it's done. in a matter of minutes, the two thieves had both night watchmen completely under their control. you ready? we wanna be our brother's keeper. what's number two we wanna do? bring it up to 90 decatherms. how bout ya, joe? let's go ahead and bring it online. attention on site, attention on site. now starting unit nine. some of the world's cleanest gas turbines are now powering some of america's biggest cities. siemens. answers. bob will retire when he's 153, which would be fine if bob were a vampire. but he's not. ♪ he's an architect with two kids and a mortgage. luckily, he found someone who gave him a fresh perspective on his portfolio.

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>> reporter: after two thieves dressed as boston police officers gained access, they had both night watchmen under their control within minutes. it seems the thieves knew it. the priceless collection of art in the museum is now theirs for the taking. it's about 1:30 in the morning, and it's time for the thieves to get down to business. >> he finished cuffing me, and he cuffed my partner. very dramatically said gentlemen, this is a robbery. you know, just do what we say and you won't get hurt. and i said we don't get paid enough to get hurt. that kind of defused the situation a little bit. >> rick abbot laughs about it

now, but as soon as he was tied up by the two thieves, he realized how vulnerable he really was. >> i was panicking. i didn't realize i was panicking. but i was completely panicking. >> the thieves lead rick and his partner down to the basement to different areas. rick is taken to the boiler room and cuffed to an electrical box. his eyes and mouth were duct taped and he feared for his life. >> i was afraid that they were going to set the place on fire after they were done. that was my -- maybe because i was right across from the boiler. but my predominant fear was god, i hope they don't burn the place. >> he couldn't see, couldn't hear, and he had no idea what was happening upstairs. all he knew was that his museum was unguarded and about to be robbed. it all happened so fast, he never had a chance to hit the one panic button by the guard desk.

he knew no one was coming to help. did the thieves know that as well? it appears they did. since they were in no rush to get out. >> the path is interesting. they took the guards, after they handcuffed them and taped them and brought them into the basement, about 24 minutes elapsed, though, before they would see them again. >> motion detectors placed throughout the building picked up their trail for nearly an hour and a half. but that didn't matter. those motion detectors weren't connected to police outside. they only alert the guard sitting at the computer by the entrance. a computer that was now unmanned. >> in this hallway is where we see the first motion detectors go off. that's how we know it was 24 minutes. it was 1:48 and they're walking down this hallway together and they entered the dutch room. >> which is right there. >> exactly. and from the dutch room, they

took six pieces, the three rembrandts, the flinck and the vermeer, and the chinese vessel. and that's where, in terms of dollar value, that's where the lion's share of the theft occurred. unltz are. >> these three rembrandts, the vermeer, flinck all had to be taken down from the walls in the dutch room. the real work had begun for the thieves. but as they get ready to remove rembrandt's "storm on the sea of galilee," his only seascape, a high-pitched alarm sounds. steven kurkjian has investigated this case for "the boston globe" for decades. he first interviewed rick abbot about the night of the crime for the globe, and abbot told him this alarm was designed to keep visitors from getting too close to the rembrandt. >> that seascape, even if you look at prints of it now, images of it now, you will see a vision, an etching, of rembrandt himself.

art experts, art specialists, common folk would know that and they would come up and point their finger close to, point out the image of rembrandt. and if they got too close, then the alarm would sound. >> he says the thieves then smashed the alarm. >> that was a compelling detail to me. it seemed like that worked. you know, if you got too close, the sound would go off. and as i went through the rest of the security that was in place at the museum, nothing else was there to guard the museum's valuables. >> like the motion detectors, this alarm was not connected to the outside world. but did the thieves know that as well? because they didn't pack up and leave at that point. they continued on with their crime, and they took their time. one thief stayed behind in the dutch room and carefully removed

some of the paintings from their matting and frames. although two of the rembrandt's were simply cut out of their frames. the other thief headed out of the room, back down the hallway. >> same path backwards, goes to the early italian room, the raphael room, all the while, passing incredibly priceless art. famous art. raphaels. important chinese pieces. fran jell ko. and walked back to the short gallery where the thief takes five sketches degas. a napoleonic finial from the top of a flag that napoleon's first regiment carried. throughout his actions in the short gallery, he's going back and forth about a half a dozen times, again, passing things that any art expert would say, my god, these are two raphaels, small and portable. why wouldn't you take those? it's a great mystery to the theft. >> another great mystery is this painting by edouard manet.

the oil painting was taken from the blue room on the first floor. >> it hung right below manet's portrait of his mother. it was about 8 by 10 and it was in a gold gilded frame and it was here. >> even though motion detectors picked up the thieves' trail by the entrance on the first floor and all throughout the second floor, there are no records of anyone entering the blue room. rick abbot says in the time he worked at the museum, the motion detectors never failed. but he also says it wasn't impossible to avoid the detectors. in fact, he knew exactly how to do that. it was a game he used to play at night to help pass the time on his rounds. >> you would walk all kinds of crazy ways. some places, you'd have to go around the perimeter of the room or you'd have to go right through the center, you'd have to duck down or you'd have to kind of squat and waddle and do all of these different stuff.

>> it's something straight out of the movies, like this scene from "ocean's 12." the motion detectors at the gardner museum were not nearly as complicated as that. still, the thieves did seem to know how to evade them. but another question emerges, why would they bother doing so only in the blue room where just one painting was stolen. unless they weren't the ones who actually took the manet out of the blue room that night. the thieves made off with the printed records of the motion detectors, though they left the computer which saved all of the information on its hard drive intact. meanwhile, all of this time, rick abath is waiting in the pitch dark, scared to pieces in the museum basement. as he waited for something to happen next, he suddenly realized someone was staring at him. >> either through sweating or struggling or both, at some

point, the duct tape had slipped down. so i could see a little bit over the duct tape, kind of. and at one point, somebody did come and check on me. somebody was standing on the end looking down at me. they didn't say anything and i -- it spiked me up again, i was freaking out again. but trying not to, like, oh, my god, i have to pretend i can't see this person. that would definitely not be good if they realized i could see them. >> rick says he had lost track of time and wasn't sure exactly when the thief came to check on him. that was the last he'd see of them. their job was done. but remember the video camera perched outside the door where they entered? the thieves must have known it was there. and must have known where it was hooked up to. because before they left the museum, they made one last move to be sure nobody ever recognized them.

>> it was a point where they kicked open a door, pried open a door, broke it pretty badly and took the video tape we had, the only evidence of what they looked like, from the security director's office. >> at 2:41 a.m., the doors of the museum opens and closes. and then opens and closes again four minutes later. it must have taken the thieves those two trips in and out to load up the art. then, just as suddenly as they arrived, the thieves were gone. >> once they leave, they're never heard from again. rick abath's fear that the thieves were going to burn down the museum prove to be unfounded. the museum was left largely unharmed. but 13 of the greatest works of art, worth about half a billion dollars, were missing. rick says he just remembers waiting and waiting and waiting. police found him the next morning. >> the police came around the corner with flashlights and the

guy seemed surprised and screamed out, whoa, we've got another one. and i was just like, cut me off this box, because my hands had fallen asleep a long time ago. rick was relieved to be found and to be alive. but he knew almost immediately that he was a suspect. >> i knew i was. i mean, i opened up the door, you know. i mean, once i sat down with the fbi, i think the first thing i said was, what dyou want to know? because i knew. i mean, well, i'm the guy who opened up the door, they're obviously going to be looking at ne. >> the fbi certainly was looking at him. was it an inside job? how else could the thieves have pulled this off? and who else did the fbi suspected?

dawn, and the damage was done. when security guards showed up for their regular morning shift and rang the busser, as they always did, they knew immediately something was wrong. they called their supervisor and the fbi and police were on the scene. reality sunk in.

$500 million worth of art was gone. there was no trace of the thieves. authorities got an idea of what the bad guys looked like from the two night watchmen, the only ones to see the thieves up close. but it all happened so fast. they were tied up and blindfolded within minutes. watchman rick abath gave this description of the guards to a sketch artist. >> the guy who was dealing with me was kind of taller and skinny and was wearing his gold-framed, like, round glasses, if i remember correctly and he had a mustache. and i remember before he arrested me, it looked really greasy. i was thinking he was using some funky kind of wax or something on that. it was probably a fake mustache. >> but the description from rick and the other guard didn't satisfy the fbi.

even rick admits the sketch they produced didn't really look like either of the two men. >> i remember, at the time, thinking there's no way they're going to catch these people from this. unfortunately, that's one of the frustrating aspects of this case is the descriptions that are given were very vague. very generic. >> jeff kelly from the fbi's boston office is the lead agent in this case. without a good description and virtually no other public information about the thieves' identity, the investigators begin to focus their attention on the museum employees. >> these guys had a very -- they had a level of comfort in that museum that really points to the fact that if it wasn't an inside job, they definitely had inside information. >> both the fbi and the museum security director are stuck on the fact that the thieves spent 81 minutes inside the museum. anthony amore says that is eight times as long as the typical art

theft. >> there was a covert -- just like you would see in the bank, and the thieves knew that that hadn't been hit as by how much time they spent in the museum. how he knew that the guard hadn't hit that alarm is a mystery to me. could that be why they waited a while? remember, motion detectors didn't pick up the thieves' trail until 24 minutes after they entered the museum. >> apparently, there was a half hour between -- 20 minutes between when they tied us up and when they actually headed into the gallery. and i've seen a lot of people questioning, well, what were they doing? i'm thinking, they were probably waiting to see if we did press

the panic button. they were probably waiting to see if the cops were going to show up. >> according to the fbi, nearly nine of every ten museum heists have an inside component. rick abath, the guard who left the thieves in was interrogated for days. he also took lie detector tests. he was never charged with anything. and when we talked with him, he maintained he had nothing to do with the heist. and what about the regular night watchman who called in sick that night? rick remembers after he buzzed the thieves into the museum, they asked him if he was alone. >> i wonder if that -- are you here alone? there were provisions for a single guard to be here. i wonder if are you here alone meant did they get anybody to come in? but i don't know. >> but that night watchman, the one who called in sick, was never charged, either. in fact, no museum employee has ever been charged with anything

in connection with the crime. though investigators say no one has been completely cleared, either. so with no apparent connections with museum employees, who else could have been involved? notorious art thief miles connor was already a known figure among art thieves in boston. in 1975, he stole a rembrandt from the museum of fine arts, but in 1990, at the time of the gardner theft, he was in jail and no known connections were ever found. mobster david turner from boston was also considered a possible suspect with various publications pointing out the resemblance between fbi sketch and turner. but no definitive evidence linking turner to the heist has ever surfaced. boston crime boss whitey balling bulger was also suspected to be involved, with rumors to smuggle it to the irish i.r.a.

>> certainly, if you're looking at boston, which is a huge irish population, and in -- it's not unusual or you wouldn't be incorrect in assuming that there might be some connection to the i.r.a. the i.r.a. has done it before where they've taken paintings and basically ransomed them back for money. they've done this in the past. and because of the connection to boston, it's not improbable. but, again, like many of the other theories, there's nothing concrete that we've developed over the years. >> the justice department has publicly disavowed any link between bulger and the gardner museum. and so the search for the thieves continues. and, at the same time, the effort to recover priceless works of art. >> this is the creme de la creme of art recovery. >> chris tore marinelo is executive director of the art loss registry, the world's

largest data base of stolen art. he's been waiting to see if any of the stolen art from the gardner museum has come up for sale anywhere in the world. after all, if the thieves are after money, they will try and sell the art. so marinello watches and waits. >> we'd probably be the first ones to know about it. we do explore a lot of leads. we pass on those leads to law enforcement and let them run with it. >> investigator robert whitman says when it comes to stealing art, the actual theft is the easy part. once they have the goods, they need to know how to sell it without getting caught. >> that's the next step. and if they're going to sell it, it's like a car. it's not like that. the market for these artworks is very small. >> according to whitman, nearly all stolen, high-end artwork is eventually recovered.

investigators continued with their search. chasing down countless tips and leads. then, in 1994, a possible breakthrough. that year, the museum director received a mysterious unsigned letter post stamped from new york. the anonymous writer said he had access to the stolen art and would barter them back for 1% of their value. >> the writer asked for two things. one was that the investigation stand down. what he meant by that was he was worried that those people who would facilitate -- help him facilitate the return, would get arrested. and if he couldn't assure them fully that no one was going to get arrested here, that then the deal was off. and the second thing he asked for was that an indication come from the museum that they were willing to engage the fbi and go

for serious negotiations here. >> the indication the writer asked for was this. the number one printed in the "boston globe" currency table next to the italian lira. the museum complied and printed the secret signal and then they, and investigators waited. >> a short time later they received a second memo. thank you very much. i appreciate the willingness to engage. i saw the one. however, i must tell you that we are still worried that they have not stood down. that the fbi has not stood down. >> the hot lead went cold fast. the museum never heard from that person again. but another lead was surfacing. this one pointing straight to hollywood. [ female announcer ] your smile.

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>> reporter: what happened inside this museum baffles investigators even today. they haven't been able to catch the thieves and $500 million worth of art seems to have vanished without a trace. >> i like to say it is boston's last best secret. boston's last best secret. who stole the 13 works of art from the isabella stewart gardner museum?

and where are they now? it is a question that continues to puzzle museum security director anthony amore. >> what is it about this case that keeps you up at night that still doesn't sit right with you? >> there were lots of quirky things about it. every time you turn around, there's a different interesting fact that you find. >> one of the biggest questions for amore is why did the thieves steal what they did? remember the path on the second floor? when they went from the dutch room to the short gallery, they bypass valuable works of art that were small and portable. and worth a lot more than some of the other art they stole. >> the two big rembrandts and the vermeer, those three pieces account for 90% of let's call it

$500 million, $400 million, of the value. another big question, why did the thieves bother taken a golden finial that sat on top of a napoleonic flag? at first, it seems they attempted to steal the flag itself. but it proved to be too difficult to take down. >> they wanted very badly to get that flag. that's always seemed to me to be the clue that is the most interesting. and i know the fbi has spent a lot of time trying to figure that out. visiting, talking to, associations who are involved with napoleonic memorabilia to see was there a bounty for one of these banners? >> why did the thieves want that flag so badly? is it possible they were given a specific list of artwork to steal? by a collector who especially loved those 13 works of art? that brings us to another theory. one that has been made popular by hollywood. >> $1 million, mr. bond. >> do you think it's possible

that they're in some private gallery owned by some eccentric billionaire? >> no. no. >> like the dr. no character? >> the whole idea that a collector is holding onto stolen works of art all came from that movie "dr. no." it was a james bond movie from 1962, where he is going through dr. no's lair and he looks over and sees a painting hanging on the wall. and that painting had been stolen the year before. that actually did happen. in 20 years, the fbi and five years since then doing these investigations, i've never run into a collector who had million dollar paintings that were stolen. anthony amore doesn't buy the dr. no theory, either. >> my gut instinct is not far. typically, when art is stolen, it doesn't get moved very far. if i had to guess, it's still in new england. >> since 2003, the u.s. attorney's office has offered complete immunity to anyone who came forward with invest on the paintings.

and the museum is offering a $5 million reward. that's a lot of money on the table. so why hasn't anyone come forward? >> the other alternative is that whoever has them just is waiting for the right time. and it's not a question of the $5 million or immunity. it's a question of this individual might get jammed up on some other unrelated crime and he or she might feel that this is their trump card to get out of prison. >> stolen art can be a get-out-of-jail free card for criminals, which is why the notorious whitey bulger was looked at with suspicion for a while. and most recently, just last year, authorities searched the home of robert gentile who was in prison on drug and weapons charges. they found no sign of the artwork and gentile remains behind bars. there are some who don't completely buy this theory. former fbi agent robert whitman is one of them.

>> my personal opinion, just from experience, i think some of it has been dispersed in different places. i think it's still possible that -- it's possible that they could be in western europe. >> whitman's theory is based on a 2006 lead the fbi called operation masterpiece. >> they were resurfacing somewhere in the south of france at that time. they were being offered for sale for approximately $30 million at that point. >> hoping to crack the case, whitman went undercover as an interested buyer. and although the fbi did recover $65 million of stolen art during that operation, not a single piece turned out to be stolen from the gardner museum. but that doesn't mean that the people offering the artwork didn't have it. in fact, they talked specifically about selling the

the vermeer. >> the case was close to possibly recovering some of the pieces. the reason i say this, i've worked for this almost 20 years at that point. through my experience, you know, i think that these people were talking in reality. they were talking about things they really had. >> but that was nearly seven years ago. and whitman fears the paintings could be anywhere by now. for art crime investigators, this gardner artwork had become the holy grail. >> i think everybody that knows about art theft and art recovery knows these 13 items. they've been widely publicized. i think these pieces are unsalable in today's marketplace. >> if that's true, what will become of them? how will investigators ever find them? with offers of immunity ignored and the $5 million reward disregarded, the mystery only deepens. ulous hotel? well you can see if the hotel is pet friendly before you book it, and i got a great deal without bidding.

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>> reporter: the isabella stewart gardner museum is considered one of the finest institutions in boston. so when two men posing as boston police officers made off with 13 works of art, it became priority number one for investigators working the case. their goal has always been to return the stolen artwork to where it belongs. but even if they do one day, what may always haunt them is how the thieves knew the museum was so vulnerable. >> for 23 years, these empty frames have hung on the walls of the isabella stewart gardner museum. but they are more than just evidence of a remarkable crime. they are a sign of hope, place holders for when the paintings return. all of these years, one thing investigators haven't been able to figure out, besides where the artwork may be, is how did the mastermind behind this heist know security was so thin at the museum? just two night watchmen, one panic button, motion detectors that could be dodged and one security camera outside. did the thieves have help from inside? would they have been able to pull it off without inside information? suspicion still surrounds the men on guard that night. night watchman rick abbot said while he doesn't know of anyone in the museum who would have knowingly tipped the criminals to the lax security set-up, he admits it was a topic he and other guards spoke about often. >> we do find that there's those two polar extremes. one is a very quickly after the theft, we'll locate the work because it's being offered for sale by a criminal or a handler. or art will go underground and we won't see it for a decade. very little in between. >> reporter: the investigators recently recovered a matisse that was stolen 25 years ago so he has hopes that the gardner paintings will resurface. so does anthony amor who has

worked tirelessly with the fbi to get the artwork back. do you think you're close? >> i do. i've been saying that for a couple years now. people are going to start to wonder about me. but it's a slow process. we liken it to a needle a haystack. but we're trying to make the haystack smaller. >> and it seems that haystack is finally getting smaller. just this week, 23 years after the heist, the fbi announced they have identified the thieves who pulled it off. agents refuse to reveal the thieves' identities, citing an on going investigation. they would only say the thieves were part of a criminal organization based in new england and the mid-atlantic. and because it's been so long, the statute of limitations has expired. the thieves can no longer be prosecuted. and the stolen artwork? all 13 pieces remain missing. >> we have reason to believe

it's likely that the artwork has changed hands several times. >> reporter: investigators are also offering the possibility of immunity to anyone who has the artwork. they just want the artwork back in good condition. because if the paintings are stashed somewhere, perhaps hidden in an attic or behind a basement wall without the right temperature or right humidity, they will be ruined, if they're not already. it's a scenario investigators hate to even talk about because it would likely mean these 13 masterpieces are gone forever from public view. >> we all have an obligation to maintain this material for our children, and when something like that happens, and if it's destroyed, well, we'll be letting our children down. >> it's stolen from the museum, it's stolen from boston, it's stolen from america, it's stolen from the world. >> i was a victim. the museum was a victim. the city of boston was a victim. >> it's a huge, huge theft. and one day, we're hoping it will be a huge, huge recovery.

>> reporter: if that day ever comes and the half of billion dollars worth of art was returned here, there would be a celebration. only then would we finally have some answers as to how these two anonymous thieves were able to flawlessly pull off the greatest art heist in history and then vanish with the artwork into the dark of night without a trace. i'm randi kaye in boston. thanks for watching.