Theory No. 2 is that they were all engaged in espionage. This scenario has the virtue of simplicity -- if it smells like a spy, walks like a spy, and talks like a spy, it probably is a spy -- but doesn't make much sense, either. Why would the Mossad -- or any spy outfit with a lick of good sense -- use kids without papers as spies? And, just as our incredulous DEA agent noted, what intelligence useful to Israel could be gathered from DEA offices, anyway?

I suggested to Stability that the operation, if it was that, was purposely conspicuous -- almost oafish. "Yes, it was," he replied. "It was a noisy operation. Did you ever see 'Victor/Victoria'? It was about a woman playing a man playing a woman. Perhaps you should think about this from that aspect and ask yourself if you wanted to have something that was in your face, that didn't make sense, that couldn't possibly be them." He added, "Think of it this way: How could the experts think this could actually be something of any value? Wouldn't they dismiss what they were seeing?"

Thats where you enter truly dark territory: Theory No. 3, the Art Student as Agent as Art Student Smoke Screen. It has major problems, but lets roll with it for a moment. This theory contends that the art student ring was a smoke screen intended to create confusion and allow actual spies -- who were also posing as art students -- to be lumped together with the rest and escape detection. In other words, the operation is an elaborate double fake-out, a hiding-in-plain-sight scam. Whoever dreamed it up thought ahead to the endgame and knew that the DEA-stakeout aspect was so bizarre that it would throw off American intelligence. According to this theory -- Stability's "Victor/Victoria" scenario -- Israeli agents wanted, let's say, to monitor al-Qaida members in Florida and other states. But they feared detection. So to provide cover, and also to create a dizzyingly Byzantine story that would confuse the situation, Israeli intel flooded areas of real operations with these bumbling "art students" -- who were told to deliberately stake out DEA agents.

Perhaps. Why not? Up is down, left is right. I nudged Stability on the obvious implication of the "Victor/Victoria" scenario: If this was a ruse, a decoy to conceal another operation, what was that other operation? "Unknown," Stability said.

Then of course theres Theory No. 4: that they really were art students. Either they were recruited in Israel as part of an art-selling racket or they simply hit upon the idea themselves. This theory is basically the de facto position held by the U.S. and Israeli governments, which insist that the only wrong committed by the "students" was to sell art without the proper papers. There are almost too many problems with this to list, but it's worth mentioning a few: Why in the world would people try to sell cheap art market to DEA officials? Why would they almost all use the same bogus Bezalel Academy of Arts cover story? Why would anyone running such a racket to make money use foreign nationals without green cards, knowing that they would quickly be snagged for visa violations? And why did so many of these itinerant peddlers, wandering the United States on their strange mission of hawking cheap Chinese knockoff paintings, have "black information" about federal facilities?

There are other theories. One is that these were spies in training, newly minted Mossad graduates on test runs to see how they would operate in field conditions. I asked Stability how hotly the matter was now being pursued in intel and law enforcement. "Depends on who you speak to," he told me. "Some people say that it's a dead issue, a fantasy. Most of the investigations are happening at an ad hoc level. There are people out there that you couldn't sway off some of the cases, because that's how dedicated they are."

Apparently, at least some agents in FBI remain quite concerned about the art student problem. According to several intelligence sources, including Stability, on Dec. 3, 2001, six separate FBI field offices simultaneously forwarded communiqués to FBI headquarters inquiring into the status of the investigation. The FBI agents wanted to have a "clarification" as to what was going on.

The subject may not be officially dead yet. The art student matter may be taken up by the congressional committees investigating intelligence failures leading up to the Sept. 11 attacks, according to another source.

What about the crucial Washington Post article, in which anonymous federal agents alleged the DEA memo was the work of a disgruntled employee?

"The Washington Post article was a plant -- that's obvious. The story was killed," Stability told me. Who planted the story? Stability claimed the FBI was behind it. "Every organization is running scared," Stability added, "because they're afraid of the next shoe to drop. There are many smoking guns out there, many. So consequently every one is at a level of heightened anxiety, and when they're anxious they make mistakes."

Yes, but what are they afraid of? What will the smoking guns prove? Questions, questions, labyrinthine questions, and the more you ask in this matter, the fewer get answered. When I called the CIA to inquire about the agency's March 2001 alert -- an alert that evinced deep disquiet over the affair -- an official who was aware of the inquiry told me, "I'll make a recommendation to you: Don't write a story. This whole thing has been blown way out of proportion. As far as we're concerned, we reported it, yes, but subsequently it's nothing of interest to us. And we've just closed the book on it. And I really recommend you do the same. Let it go. There's nothing here."

Not everyone else in law enforcement is so sure. "There's a lot of concern among the agents," said the DEA source. "We're investigators. We're not satisfied when we don't have answers. This is a mystery that has an answer and it has to be resolved."

Editor's Note: This story has been corrected since its original publication.

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