A daring art heist across the ocean has captured worldwide attention and sparked concerns about the vulnerability of art collections in the United States.

Renowned pieces by legendary artists such as Pierre-Auguste Renoir, Paul Cézanne, and Henri Matisse were stolen from Italy’s Magnani Rocca Foundation during the night of March 22-23. While the theft has made headlines globally, experts suggest that the implications of this crime reach further than the act itself.

Geoff Kelly, a former FBI agent who served on the Art Crime Team, explained to Fox News Digital that these sorts of heists are more prevalent than the public might assume. Contrary to popular belief, they often lack the intricate planning seen in movies.

“Taking the artwork is relatively straightforward,” Kelly noted. “Breaking a door or shattering a window and fleeing with the art isn’t a complicated task.”

Authorities have described the theft as a “crime of opportunity,” with the suspects allegedly making off with over 1,000 historical artifacts. The incident highlights potential security gaps in art institutions worldwide. (Oakland Police Department/TMX)

That reality is fueling concerns about vulnerabilities inside museums, including in the U.S.

Kelly explained that museums face a built-in challenge when it comes to security. Unlike banks or vaults, they are designed to be open, accessible and inviting to the public—an environment that can also be exploited by criminals.

“Museums are always going to be vulnerable,” he said. “They’re not vaults—they’re designed to be open and welcoming.”

The Stewart Gardner Museum was closed due to a robbery in 1990. (Tom Herde/The Boston Globe via Getty Images)

The U.S. has seen its share of high-profile art thefts, including the infamous Isabella Stewart Gardner Museum robbery in Boston, where thieves made off with 13 works valued at roughly $500 million in March 1990, which still remains unsolved decades later, according to Boston.com. Kelly himself worked that case for years, underscoring how even major institutions can be targeted.

While Hollywood often portrays art heists as highly coordinated operations carried out by sophisticated crews, Kelly said many real-world cases are far more straightforward.

“These aren’t elaborate schemes,” he said. “A lot of times it’s smash-and-grab.”

Anthony Amore, director of security at the Isabella Stewart Gardner Museum (left); Richard DesLauriers, special agent in charge of the Boston Field Office of the FBI (2nd from left); Jeff Kelly, FBI agent in charge of the art theft investigation; and U.S. Attorney Carmen Ortiz at a news conference in the FBI office on the state of the Isabella Stewart Gardner Museum art heist investigation, Friday, March 15, 2013. (John Wilcox/MediaNews Group/Boston Herald via Getty Images)

In some cases, thieves may have insider knowledge, whether from current or former employees or simply by observing security practices. But Kelly said many crimes rely on basic weaknesses that can be addressed with relatively simple fixes.

Kelly added that small changes, like keeping high-value pieces away from exits or using more secure mounting hardware, can make a meaningful difference by slowing down a thief and giving law enforcement more time to respond.

“Even those extra few seconds can matter,” Kelly said.

Karen Haas, acting curator of the Isabella Stewart Gardner Museum in Boston, during a news conference outside the museum to show photos of the stolen $300 million in artwork taken in an early morning robbery. (Tom Herde/The Boston Globe via Getty Images)

Kelly also noted that museums can be especially vulnerable after hours, when buildings are empty and security measures are put to the test. He said even basic, low-cost upgrades to surveillance and physical security can make a significant difference, adding that with today’s technology, it is increasingly difficult for criminals to avoid leaving a trail.

Despite the bold nature of these thefts, Kelly says the biggest challenge for criminals often comes after they leave the museum.

“The most difficult thing of all is monetizing it,” Kelly said.

Isabella Stewart Gardner Museum conservators restore empty frames in advance of the 35th anniversary of 13 artworks being stolen from the museum in a brazen heist. (John Tlumacki/The Boston Globe)

Contrary to popular belief, Kelly said that there is little demand for well-known stolen masterpieces. Advances in technology, including the ability to instantly identify artwork through image searches, have made it increasingly difficult to sell stolen pieces, he added. 

“There is no real market,” Kelly said. “Over time, it becomes a liability rather than an asset.”

That reality can leave thieves stuck with artwork they cannot easily move, sometimes leading to pieces being abandoned or quietly returned.

Law enforcement, meanwhile, has more tools than ever to track suspects. Surveillance cameras, license plate readers and other technologies make it difficult for criminals to avoid leaving a trail.

“With the amount of surveillance today, it’s very hard not to be captured somewhere,” Kelly said.

Still, he cautioned that these types of crimes continue to happen every year, often targeting museums around the world.

And while the latest heist took place overseas, the warning for American institutions is clear.

The same factors that make museums accessible and appealing to the public can also make them attractive targets for criminals—underscoring the importance of staying vigilant and continuously improving security measures.

Beyond the financial loss, Kelly said the stakes are much higher.

“These works represent our shared cultural heritage,” he said. “When they’re stolen, we all lose.”