What to Know About the Louvre Heist Investigation

 French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
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What to Know About the Louvre Heist Investigation

 French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)

More than 100 investigators are racing to piece together how thieves pulled off the brazen heist at the Louvre Museum in Paris, working to recover the stolen gems and bring those responsible to justice.

The daytime theft of centuries-old jewels from the world’s most-visited museum, thought to be of significant cultural and monetary value, has captured the world’s attention for its audacity and movie plot-like details.

Two suspects are in custody, but thus far little has been revealed about how the investigation is unfolding, a source of frustration for those accustomed to the 24-hour flow of information in American true crime or British tabloids.

Suspects, like the jewels themselves, have remained out of sight, the case file cloaked in mystery and French authorities characteristically discreet.

Paris prosecutor Laure Beccuau said that more details would come once the suspects’ custody period ends, expected midweek.

But here's what we know so far about the case:

What investigators want to know Authorities said it took mere minutes for thieves to ride a lift up the side of the museum, smash display cases and steal eight objects worth an estimated 88 million euros ($102 million) on Oct. 19. The haul included a sapphire diadem, necklace and single earring from a set linked to 19th-century queens Marie-Amélie and Hortense.

Beccuau said an investigation was opened into potential charges of criminal conspiracy and organized theft, which can carry hefty fines and yearslong prison sentences.

How France handles arrests Beccuau said investigators made arrests Saturday evening but didn’t name them or say how many. One suspect, she added, was stopped at a Paris airport while trying to leave the country.

In France, where privacy laws are strict, images of criminal suspects are not made public as they often are elsewhere. Suspects aren’t paraded before cameras upon arrest or shown in mugshots.

The presumption of innocence is inscribed in France's constitution and deeply valued throughout society.

Information about investigations is meant to be secret under French law, to avoid compromising police work and to ensure victims' right to privacy, a policy known as ″secret d’instruction.” Only the prosecutor can speak publicly about developments, and violators can be prosecuted.

Police and investigators are not supposed to divulge information about arrests or suspects without the prosecutor's approval, though in high-profile cases, police union officials have leaked partial details. Beccuau on Saturday rued the leak of information about the ongoing investigation.

A police official, who was not authorized to speak publicly about the ongoing case, told The Associated Press that two men in their 30s, both known to police, were taken into custody. He said one suspect was arrested as he attempted to board a plane bound for Algeria.

Additional arrests may follow as the investigation continues.

Inside the investigation The more than 100 investigators that Beccuau said are assigned to the case are combing through 150 DNA samples, surveillance footage and evidence left behind in the thieves’ wake.

Those assigned include the Brigade for the Repression of Banditry, the special police unit in charge of armed robberies, serious burglaries and art thefts.

Recovering the jewels could be among the most difficult parts of investigators' work. French authorities have added the jewels to Interpol’s Stolen Works of Art Database, a global repository of about 57,000 missing cultural items.

Interpol, the world’s largest international police network, does not issue arrest warrants. But if authorities worry a suspect may flee, Interpol can circulate the information using a color-coded notice system.

The French investigators can also work with European authorities if required. They can turn to the European Union’s judicial cooperation agency, Eurojust, or its law enforcement agency, Europol. Eurojust works through judicial cooperation between prosecutors and magistrates, while Europol works with police agencies.

Both can help facilitate investigations and arrests throughout the 27-member bloc. Requests for help must come from the national authorities, and neither organization can initiate an investigation.

What happens next? Beccuau said more details would be released once the suspects' time in custody expires. Suspects investigated for criminal conspiracy can be held for up to 96 hours before charges are filed.

But don’t expect a flood of updates. Indictments and verdicts are not routinely made public in France. French trials are not televised, and journalists are not allowed to film or photograph anything inside the courtroom during a trial.



Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo
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Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo

The League of Arab States affirmed the importance of consolidating the values of coexistence and mutual respect, promoting a culture of dialogue, and enhancing social cooperation, as these represent the foundation for building stable and prosperous societies amid the increasing cultural and religious diversity witnessed around the world, Emirates News Agency (WAM) reported.

In a statement issued ahead of the International Day for Tolerance, observed annually on November 16, the Cairo-based pan-Arab organization explained that respecting the right of others to differ and believing that diversity is a source of civilizational richness constitute a fundamental pillar for achieving true peace and strengthening social stability, WAM said. It stressed that tolerance is a human and ethical value that no society aspiring to progress can dispense with.

The League stressed the need to integrate the values of tolerance, dialogue, and coexistence into the vision of societies and the mission of their institutions, considering tolerance a bridge toward a safer, more just, and more humane future.

In this context, the League of Arab States is working on adopting the “Arab Declaration on Tolerance and Peace” as a guiding framework to support future efforts to anchor mutual respect and peaceful coexistence. The declaration also aims to enhance communication between different cultures and reject all forms of hatred, extremism, and discrimination, ensuring the preservation of human dignity regardless of religion, color, language, or culture.

The International Day for Tolerance is an annual observance day declared by UNESCO in 1995 to generate and raise public awareness about intolerance and promoting mutual respect, human rights, and cultural diversity.


Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
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Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP

The Vatican on Saturday returned 62 artifacts connected to the Indigenous peoples of Canada to the country's Catholic bishops, offering what it called "a concrete sign of dialogue, respect and fraternity", a statement said.

Pope Leo gifted the objects to the Canadian Conference of Catholic Bishops following a meeting with their representatives including their president, Bishop Pierre Goudreault, said Reuters.

"The CCCB will proceed, as soon as possible, to transfer these artifacts to the National Indigenous Organizations (NIOs). The NIOs will then ensure that the artifacts are reunited with their communities of origin," the Canadian bishops said.

Catholic missionaries sent the artifacts to Rome on the occasion of a 1925 exhibition held by Pope Pius XI that displayed more than 100,000 objects. Nearly half of them later formed a new Missionary Ethnological Museum and were transferred to the Vatican Museums in the 1970s.

In 2022, the late Pope Francis issued a historic apology to Canada's Indigenous peoples ahead of his visit to the country for the Catholic Church's role in residential schools where many children suffered abuse and were buried in unmarked graves.

The repatriation of the native artifacts held at the Vatican Museums was also part of the talks between the Church and the Indigenous leaders.


Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
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Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP

As the Studio Museum reopens this weekend in its gleaming new building, New York's premier institution for Black art finds itself looking back and looking forward at the same time.

Colorful signs featuring permanent works have sprouted near the museum's home in Harlem, a center point in Black life and imagination in America for more than a century, AFP said.

The museum, closed for the more than seven-year project, has commissioned new works to commemorate the reboot, which features expanded studios for the institution's artists-in-residence program.

But the 57-year-old museum is also hearkening back to its roots with a retrospective of the late Tom Lloyd, whose electronically programmed wall sculptures anticipated today's digital age.

Some of the same pieces were hung in the museum's inaugural 1968 show back when works by artists of African descent were mostly absent from New York's leading museums.

Today's art scene is very different.

Rashid Johnson, Amy Sherald and others are regularly showcased in shows at the Guggenheim, Whitney and other nameplate New York museums, which have also hosted retrospectives belatedly recognizing Black movements.

"In the time of the museum's life, we have seen this incredible trajectory and some of that is a result of the work that the museum did in its establishment and its early years," said Studio Museum director Thelma Golden, who oversaw a more than $300 million drive to finance a teardown and newbuild project that cements the museum's ties to Harlem.

"The aperture opens, but even with that, we still believe deeply in the work that continues to need to be done."

'Truly current work'

The museum's history is laid out in photos of the 1968 groundbreaking, and there are posters of jazz nights, "Uptown Friday" gatherings, high school programs and of shows such as a retrospective of James Van Der Zee, a famed photographer during the Harlem Renaissance.

The founders' ambitions included creating a place distinct from New York establishments like the Museum of Modern Art.

The Studio Museum will present "truly current work," founders wrote in 1966. The work "could turn out to be a flash in the pan or could conceivably begin an entire new school or new direction in art."

Backers also sought to redefine Harlem, "which is all too often equated with slums, violence and other evils," and to deepen the commitment of supporters -- some white -- to "make New York City a united city rather than one which is currently divided by an invisible Berlin wall."

Key turning points included 1981, when the Studio Museum broke ground at its current address at 144 West 125th Street.

Another shift came after Golden joined in 2000, when the mission statement was expanded beyond US-born creators to artists of African descent "locally, nationally and internationally."

Signature works

That broadened scope is boldly expressed on the building's exterior with a red, black and green flag by David Hammons inspired by the Pan-African flag of the 1920s associated with activist Marcus Garvey.

Another signature work is Houston Conwill's "The Joyful Mysteries," containing statements by seven prominent Black Americans written for future generations. The time capsules will be opened in September 2034, 50 years after their creation.

The new edifice itself nods to Harlem's architectural vernacular, with a mass of geometries in gray concrete and glass. The building has received rapturous reviews, and this weekend offers the public a first look.

Golden described the site as aiming to "redefine what a museum can be in its space and content."

She credited her predecessors, not all of whom lived to see Black art achieve mainstream acceptance.

"I am well aware that they did not get to see the fruits of the labor," Golden told AFP. "The inheritance I have from them is that they believed so deeply that that belief carries from '68 to this moment."