This is Suzanne Kenney, and you’re listening to the Crime and Canvas Podcast.
In our last episode, Episode 11, we finally peeled back the layers on the who and the why. We discussed the “Commissioned Heist,” the feud between the Koch brothers, and how Frederick R. Koch’s guilt led him to my mother, Mary, at a flea market in Florida. We solved the motive.
But there has always been another nagging question. If the solution is so clear, if the evidence is so strong, why is the art still missing? Why, after thirty-six years, are those frames at the Isabella Stewart Gardner Museum still empty?
Today, in Episode 12, we aren’t looking at the thieves. We are looking at the people paid to catch them. Or, more accurately, the people paid to make sure they are never found.
Welcome to Episode 12: The Gatekeeper: Anthony Amore and the 20-Year Con.
For years, the media has fed us a very specific character. They call him the “Sherlock of Boston.” They paint a picture of a tireless hunter, Anthony Amore, the museum’s Director of Security, scouring the globe for a needle in a haystack.
But when you lay the actual timeline of my mother’s story over Anthony Amore’s twenty-year career, a very different, very disturbing picture emerges.
I believe the “Sherlock” hasn’t been hunting for a needle. He was hired to make sure no one ever found it. My mother’s story—is the needle. And Anthony Amore’s job for the last two decades has been to guard the haystack.
To follow along with the timeline and documents we are discussing today, please visit crimeandcanvaspodcast.com and click on the Evidence link in the top navigation. You need to see this timeline to believe it.
Let’s look at the facts.
The law of fiduciary duty is clear: the Director of Security’s job is the Recovery of Assets. But for twenty years, the so-called “Sherlock of Boston” has focused on the Monetization of the Mystery.
It starts with his resume. Before 2005, Anthony Amore had zero experience in art history or art crime investigations. He came from the FAA and the TSA. His expertise was passenger screening and explosive detection, not Rembrandts or Vermeers.
Yet, in November 2005, a full 15 years after the heist, he was hired by the museum. Why hire someone with no art experience for the biggest art heist in history?
Because, as I believe, they didn’t need a hunter. They needed a manager.
And manage he did. Let’s look at the timeline of this “Managed Mission.”
In 2006, just a year after Amore is hired, the real “Hunter,” Robert Wittman—the founder of the FBI’s Art Crime Team—identified a trail in Pennsylvania. This is crucial because, as we know, billionaire Frederick R. Koch owned a home in Pennsylvania.
But what happened? The Boston FBI office “coincidentally” brushed him off. The “Institutional Wall” was built. They kept the investigation under the control of the “Keepers” who preferred the simple, unprovable “Mob Narrative.”
Fast forward to 2012. This was a banner year for the museum’s “Gatekeepers.”
The museum was seeking a court-ordered deviation from Isabella Stewart Gardner’s famously restrictive Will. They wanted to build a new $114 million wing. But in order to not break the Will, they had to prove to the court that they were “actively” fulfilling the museum’s mission—which includes the search for the stolen art.
They needed a PR win. They needed to look busy.
On February 10, 2012, the FBI suddenly announced the discovery of the “Gentile List,” pointing fingers at an aging mobster. It provided the perfect headline: “We are active! We are searching!”
But here is the reality they don’t tell you.
One day later—literally the next day, February 11, 2012—I met with Robert Wittman face-to-face. I showed him “My Mother’s List.” I showed him the connections to Frederick Koch. He had the Koch brothers there as we discussed in episode five.
And my tip to Mr. Wittman was ignored.
Why? Because it threatened the legal and financial momentum of the museum’s expansion. If the art was found in the hands of a billionaire donor’s brother, the scandal would halt everything. The museum would go to Harvard. The alignment of February 10th and February 11th is near impossible to be a coincidence. It was a narrative block designed to silence the “nobodies” like us, so the “somebodies” could finish their building and protect their brand.
And what did Anthony Amore do while the frames sat empty? He didn’t find the art. He found a career.
Between 2015 and 2018, Amore began leveraging those empty frames for personal gain. He started writing books. The Art of the Con. Stealing Rembrandts. He launched multiple runs for state office. To block my mother’s story.
In 2018, on the very day my investigative binder regarding Frederick Koch was delivered to Fox News—something I have documented proof of—Anthony Amore suddenly announced his run for office.
It creates a wall of noise. It distracts. He is also in a perfect position to protect the will if he gets the state office position.
This led to a famous debate where William Galvin, the Secretary of State, called Amore a “liar” and a “faker,” calling him out on his paid lectures while the frames remained empty. I am not the first person to call this out. But I might be the first to tell you why he’s doing it.
While the art remains missing, the financial records are crystal clear.
We dug into the public tax filings, the Form 990s. As the Director of Security, Anthony Amore receives an annual compensation of approximately $154,000.
Over his 20-year tenure, the ISGM “charity” has paid him more than $3 million.
Three. Million. Dollars.
To a man who has recovered zero items.
In the private sector, a security chief who fails to recover any of the stolen assets over 20 years would be replaced immediately. The fact that the Board of Trustees keeps him in place suggests his primary KPI—his Key Performance Indicator—is not recovery. It is management.
He is managing the clock. He is managing the narrative. He is blocking my mother’s story. My mother’s truth. They knew my mother’s story was coming, they hired him in 2005 and I had went to the Calder Foundation in 2002.
And now, it seems, the franchise is collapsing.
In 2022, I released my book, Crime & Canvas. I put the truth out there.
In 2025, I launched my podcast, I also launched a Change.org petition demanding transparency regarding Koch family donations to the museum, the response was immediate. I received a mocking signature from ‘Heywood Jablowmey.’
Now, critics might say, ‘Suzanne, that’s just an internet troll.’ But first of all I don’t have internet trolls. I have a small little circle of people that are paying attention to my journey on this story. And if you look closer. This wasn’t random. It was a crude, defensive reaction targeting a specific demand for financial transparency. And the Heywood Jablowmey came from Mattapoisett, MA, right in the museum’s locality.
And here is the smoking gun that no one talks about: I have publicly accused Anthony Amore of this harassment. I have named him. I have posted it. I have shouted it.
If I were lying about a Director of Security using a sexually explicit pseudonym to harass a petitioner, that would be defamation. They would shut me down in a heartbeat.
But have I received a Cease and Desist? No.
Have I been sued for libel? No.
Their silence is deafening. In the legal world, when you don’t fight a damaging accusation, it’s often because you fear the discovery process. The fact that I have no Cease and Desist on stating Anthony Amore said ‘Heywood Jablowmey’ to me backs me up 100%. It was harassment, and in my book, it proves he is the Gatekeeper.
It was a crude, defensive reaction. Only someone in the smallest circle of insiders—someone with everything to lose—would react with such immediate malice to a petition about donations.
And now, the ultimate betrayal of his role.
In November 2025, Anthony Amore released his newest book, The Rembrandt Heist. But this book is different. It is written in “unbelievable friendship” with notorious art thief Myles Connor.
Think about that for a second. The Director of Security for the Isabella Stewart Gardner Museum is now collaborating with, and profiting from, the stories of the very thieves he is supposed to be hunting.
He has turned the investigation into a franchise. He isn’t hunting for the art; he’s harvesting the story for profit.
And in January 2026, he was scheduled to teach a course on “Art Crime” at Boston College. Boston College was made aware of the statements I have made above prior to him speaking there. That same day he also spoke at the museum to sell his books and they are very aware, very aware and I have proof.
You cannot lecture on Art Law while your 20-year tenure serves as the primary evidence of its failure.
I contend that paying such a significant salary to maintain a “fake” investigation—one that ignores credible evidence like the Koch connection—is a clear misappropriation of funds. The Board of Trustees, by authorizing these payments while being aware of the truth, is complicit.
Anthony Amore likes to say his work is “reducing the haystack.”
But for twenty years, his “investigation” has done the opposite. He has buried the truth under mountains of false leads and mob-focused theories.
My mother Mary’s story—the story of a stranger at a Florida flea market selling masterpieces for three dollars—wasn’t just another piece of hay. By identifying that man as Frederick R. Koch, I began the painstaking process of actually reducing the haystack.
I didn’t create this mess; I simply found the needle they have been paid to hide.
The real “art of the con” isn’t just about the forgeries Amore writes about; it’s about the con being played on the city of Boston and the global art community.
So, here is the choice for Boston, and for all of you listening.
Do you want to stand with the Gatekeepers? Do you want to stand with those who have allowed criminals to steal from your history and then lied to you with a manufactured narrative?
Or do you want to stand with the truth? With Isabella Stewart Gardner, protect her, her will.
Those who committed the crime and installed the Gatekeeper have been having the last laugh for over thirty-five years. Their laughter has come at the expense of Boston, the art world, and a woman at a flea market in Florida who simply told the truth.
For fifteen years, they have tried to gaslight me. But ask yourself this: If I were lying, why has there never been a Cease and Desist?
For fifteen years, I have shouted this story from the rooftops, naming the names of the powerful and the wealthy—Frederick Koch, and his co-hort John Olsen. And the response has been dead silence.
No legal threats. No orders to stop.
That silence is the loudest proof we have. You don’t fight a billionaire-backed institution for fifteen years unless you are standing on a truth that won’t let you go.
And the “Sherlock” is out of time. The haystack is burning. And my mother’s story is finally out. And wait until you hear all that my mother’s story solves in my next podcast, Episode 13. It is amazing it is more than just the Isabella heist. I call it the “Imperial Shopping List” of the Invisible Empire. Frederick R. Koch will be known as the largest art criminal in history.
We are building a movement. The “nobodies” are finding their voice. My mother, Mary, turned 83 years old on January 31, 2026. I have not spent fifteen years fighting this corruption just to give up now.
My mother’s story and my relentless determination got us here. We forced the system to listen by finding a legal threat it cannot ignore. This moment, where one woman’s determination can trigger a multi-billion dollar legal and institutional reckoning, is the final victory over the wall of silence. Now Harvard University just has to pull the final trigger.
Please, stand with the “nobodies.” Stand with the history of Boston. Stand with Mary.
If this was your mother and your family story, you would do the same thing I am doing.
Visit crimeandcanvaspodcast.com to read the timeline for yourself. Sign the petition.
And remember, if you’re going through a similar struggle, if you have a voice that needs to be heard, visit uhv.news. I started uhv.news because every voice matters. It’s a place I created for others going through similar struggles or taking time to praise someone in their community.
Thank you for joining me on the Crime and Canvas Podcast. This is Suzanne Kenney. I’m grateful for your time and your willingness to hear this story. Let’s always remember: The truth is still the truth, even if no one believes it. Suzanne is the wheel. HEAR ME SQUEAK!
