Adam Green, A Pickpocket’s Taler, The spectacular thefts of Apollo Robbins, for The New Yorker, January 2013.
December 31, 2012
“The popularity of crime as a sort of romantic thing in America is profoundly significant, and Apollo is tapping into that,” he told me. “If you think about it, magic itself has many of the hallmarks of criminal activity: You lie, you cheat, you try not to get caught—but it’s on a stage, it has a proscenium around it. When Apollo walks onstage, there’s a sense that he might have one foot outside the proscenium. He takes a low crime and turns it into an art form.”