Center For The Study Of Intelligence: The Art Of Intelligence - CIA

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THE ART OF INTELLIGENCE

THE ART OF INTELLIGENCE

THE ART OF INTELLIGENCEPublished by the CIA MUSEUM and the CENTER FOR THE STUDY OF INTELLIGENCECentral Intelligence Agency, Washington, D.C.

2016 Central Intelligence AgencyISBN 978 1-929667-26-0Produced by the CIA Museum Staff, withspecial thanks to the artists and generousdonors who made this publication possible.The Staff is also grateful to longtime friend ErikKirzinger for his artistic vision and assistancein helping to establish the Intelligence ArtCollection.Photography by Peter Garfield, Garfield Studio.Design and photography by CIA Imaging &Publishing Support.The Art of Intelligence contains somematerial created by individuals other than USGovernment employees or contractors, and,accordingly, such works are appropriatelyattributed and protected by United Statescopyright law. Such items should not bereproduced or disseminated without theexpress permission of the copyright holder.Any potential liability associated with theunauthorized use of copyrighted material fromThe Art of Intelligence rests with the third-partyinfringer.THE FINE ARTS COMMISSIONThe CIA Fine Arts Commission is responsible for the acquisition, display, and preservation of the Agency’s fine art collection. Established in 1962, it advises and acts forthe Director, Central Intelligence Agency on aesthetic matters within CIA facilities. Allcommission members are volunteers representing the Agency’s directorate, publicaffairs, protocol, and diversity components as well as the CIA Museum Staff.THE CIA MUSEUMThe mission of the CIA Museum is to capture, document, preserve, and exhibit tangibleelements of the Agency’s history to “inform, educate, and inspire” the CIA’s workforce.The Museum traces its origins to the CIA’s 25th anniversary in 1972 when William E.Colby, soon to become Director of Central Intelligence, directed the Fine Arts Commission and the curator of the Historical Intelligence Collection (HIC) to look into establishinga “modest museum.” Walter Pforzheimer, the HIC’s first curator, asked the Agency’sdirectorates to identify historically significant items that were to become the Museum’sfirst artifacts. Today’s collection illustrates the expertise and creativity of CIA’s employeesover the organization’s history.THE CENTER FOR THE STUDY OF INTELLIGENCEThe Art of Intelligence is available on theInternet yof-intelligence/CIA established the Center for the Study of Intelligence (CSI) in 1974 as an organizationthat could think through the functions of intelligence and bring to bear the best intellectsavailable on intelligence problems. The Center, comprising both professional histori-Cover: Dru Blair, Peacekeeper (detail).See page 36.ans and experienced practitioners, attempts to document lessons learned from pastFrontispiece: Kathy Fieramosca, Tolkachev:Quiet Courage (detail). See page 44.serious debate on current and future intelligence challenges.activities, explore the needs and expectations of intelligence consumers, and stimulateTo support these efforts, CSI publishes books and monographs addressing historical,operational, doctrinal, and theoretical aspects of the intelligence profession, to includethis publication. CSI also administers the CIA Museum.Comments and questions may be addressed to:Center for the Study of IntelligenceCentral Intelligence Agency, Washington, DC 20505

CONTENTS2234 Air Combat First46122436481426385016284052183042549Khampa Airlift to TibetDru BlairKeith WoodcockARGO: Rescue of the Canadian SixDeborah D.IntroductionLes MargueritesFleuriront ce SoirJeffrey W. BassIrrawaddy AmbushStuart BrownAmbush in ManchuriaDru BlairEarthquake’s Final FlightJeffrey W. BassThe Secret PLA Pouch Headsfor K BuildingKeith WoodcockSeven Days in the ArcticKeith WoodcockMessage from MoscowDeborah D.The Airmen’s BondKeith WoodcockPeacekeeperDru BlairContinental Air Service’sPilatus Turbo Porter LandingUp Country in Laos, 1969Keith WoodcockUp Country MeetingDru BlairWe Are Only Limitedby Our ImaginationGareth HectorFirst StingStuart BrownCast of a Few, Courage of a NationJames DietzA Contingency for Every ActionJames DietzArtist Biographies56Paintings Index20Piercing the CurtainDru Blair32UntouchableDru Blair44Tolkachev: Quiet CourageKathy Fieramosca

INTRODUCTIONCIA’s mission is to go where others cannot go. The Intelligence Art Collection’s missionis to go where the CIA Museum cannot go.The Museum exists to engage the visitor. Artifacts in the Museum serve as tangiblelinks to the Agency’s past. When it has no artifacts—something that is not unusual inthis secret business—how can the Museum interpret events in history? One way to telltheir story is in a painting, which can fix a moment in time and invite the viewer to feelwhat it was like to be the person on the spot.The Intelligence Art Program, run by the CIA Museum under the auspices of the CIAFine Arts Commission and the Center for the Study of Intelligence, is an ambitiousendeavor to create artwork that will reflect a broad range of activities by Agency officersat different times and places. This is in line with the Museum’s strategic plan to portraythe many facets of Agency history, not just well-known activities by prominent officers.The Museum and the Intelligence Art Collection are vital to the preservation and transmission of Agency history and culture. This is especially important at a time when mostCIA employees started work after 11 September 2001. In the words of the National“The Museum andthe Intelligence ArtCollection are vital tothe preservation andtransmission of Agencyhistory and culture.”Archives, past is prologue; understanding where we are going (or should be going) ismuch easier if we know where we have been.Some of the paintings tell stories on behalf of officers who could not tell their storiesduring their lives. Now their families—and posterity—will be able to visualize theircontributions.Over the years, the Intelligence Art Collection has benefited from donations of paintings as well as from researchers and supporters passionate about the Agency’s mission and history. The Fine Arts Commission and the Center for the Study of Intelligencereview and endorse proposals for donations. Other Agency components, to includethe Office of Security and the Office of Public Affairs, weigh in on the proposals beforethey are finalized.The CIA Museum and its partners are proud to present on the following pages a selection of the Collection’s works, which are placed in chronological order along with briefnarratives. We hope you enjoy them and learn from them. Opposite: James Dietz, A Contingency for Every Action (detail). See page 52.THE ART OF INTELLIGENCE 9

CATALOGDimensions are given in inches, width height.Opposite: Gareth Hector, We Are Only Limited by Our Imagination (detail). See page 42.

LES MARGUERITESFLEURIRONT CE SOIRJEFFREY W. BASS2006. Oil on canvas30 40Donated by Richard J. GuggenhimeWhen France fell under the Nazi boot in June1940, Great Britain stood alone against theenemy. Fearing a similar fate for his country, Winston Churchill created the SpecialOperations Executive (SOE), an organization specializing in irregular warfare againstGerman forces in occupied countries. SOE’searly recruits for espionage operations werefrom all classes, pre-war occupations, andcountries—including a 35-year-old Americanwoman by the name of Virginia Hall fromBaltimore, Maryland. Hall had seen theNazi devastation in France firsthand andwas eager to do her part to defeat fascism.She underwent SOE’s rigorous preparation,remarkable, not because she was a woman,but because her left leg was made of wood,the result of a below-the-knee amputationnecessitated by a pre-war hunting accident.Fluent in French, Hall was sent to Lyon,France, in August 1941 where she helpeddevelop the area’s Resistance operation.Over the next 15 months working undercover as a journalist, Hall provided instructions, counterfeit money, and contacts toevery British agent arriving in France. In addition, she was responsible for orchestratingsupply drops and helping captured agentsescape and make their way back to England.In November 1942, she had to use her ownescape route out of France, just steps aheadof her pursuer, the now infamous Gestapoofficer, Klaus Barbie, nicknamed “TheButcher of Lyon.”For her efforts in France, OSS chief GeneralDonovan personally awarded Virginia Hall aDistinguished Service Cross—the only oneawarded to a civilian woman during WorldWar II. The medal is currently on display inthe CIA Museum’s OSS Gallery. Hall laterworked for CIA, serving in many capacitiesas one of the Agency’s first female operations officers.The painting portrays Hall in the early morning hours, radioing London from an old barnnear Le Chambon sur Lignon to requestsupplies and personnel. Power for her radiocame from a discarded bicycle rigged to turnan electric generator, the clever invention ofone of her captains, Edmund Lebrat. Usingcodes such as Les Marguerites Fleurirontce Soir (the daisies will bloom tonight), Halllearned what airdrops to expect from Londonand when.Forty years after she retired from CIA andalmost 25 years after her death, the paintinghonoring Hall’s work was unveiled in 2006at the French Ambassador’s residence inWashington, DC. Ambassador Jean-DavidLevitte read a letter from French PresidentJacques Chirac. In it, he called Ms. Halla “true hero of the French Resistance” andadded, “On behalf of her comrades in theResistance, French combatants, and all ofFrance, I want to tell her family and friendsthat France will never forget this Americanfriend who risked her life to serve ourcountry.”By this time, the Americans had also createda paramilitary organization, the Office ofStrategic Services (OSS). Hall transferredto the OSS and asked to return to occupiedFrance. She hardly needed training in clandestine work behind enemy lines, and theOSS promptly granted her request, sendingher to south-central France. Because herartificial leg kept her from parachuting in,she landed in Brittany from a British PT boat.As “Diane,” she eluded the Gestapo andcontacted the Resistance. Often disguisedas a milkmaid, she mapped drop zones forsupplies and commandos from England,found safe houses, and linked up with aJedburgh team after the Allies landed atNormandy. Hall helped train three battalions of Resistance forces to wage guerrillawarfare against German forces and kept upa stream of valuable reporting until Alliedtroops overtook her small band. JEFFREY W. BASS12 Les Marguerites Fleuriront ce SoirTHE ART OF INTELLIGENCE 13

IRRAWADDY AMBUSHSTUART BROWN2010. Oil on canvas47½ 32Donated by Michael DeSombreDuring World War II, the Burma Road innortheast Burma was a lifeline for theNationalist Chinese fighting the Japanese.A primary reason for the Japanese invasionof Burma, which was a British colony at thetime, was to cut this supply link. The ImperialArmy accomplished this task by the summerof 1942. The Allies then began airlifting materiel from India to China over the Himalayas,nicknamed “the Hump” by American fliers,all the while trying to reopen the road.In April 1942, Coordinator of Informationand future Office of Strategic Services(OSS) Director William J. Donovan activatedDetachment 101 to create an indigenousguerrilla force charged with gatheringintelligence, harassing the Japanese occupiers, identifying bombing targets for theArmy Air Force, and rescuing downed Alliedairmen—all deep behind enemy lines inBurma. Detachment 101 pioneered the art ofunconventional warfare, foreshadowing themissions of today’s US Special OperationsForces.town of Myitkyina in July 1944. Such actionshelped the Allies re-capture the town and,ultimately, defeat Japanese forces in northernBurma.By the time of its deactivation in July 1945,OSS Detachment 101 had amassed animpressive list of accomplishments, performing against overwhelming enemy strengthand under the most difficult and hazardousconditions. The courage and fighting spirit ofthe Kachin guerrillas and their American advisors earned Detachment 101 a PresidentialUnit Citation and recognition as the “mosteffective tactical combat force” in the OSS.Irrawaddy Ambush contributes an impressiverepresentation of a critical aspect of OSShistory. At the painting’s unveiling in 2010,Museum Director Toni Hiley noted, “Thestory of OSS must be kept fresh and vibrant,not only for the sake of the patriots who livedit but for all who continue the vital missionsbegun decades ago by that remarkable organization of remarkable Americans.”Never more than a few hundred Americansstrong, Detachment 101 relied on supportfrom various Burmese tribal groups, mostnotably the staunchly anti-Japanese Kachins.Combined with the efforts of the BritishWingate’s Raiders, Merrill’s Marauders ofthe US Army, and Nationalist Chinese troops,Detachment 101 was so successful thatJapan had to divert significant numbers oftroops to Burma to protect the new railroadthat it had built to move supplies overlandafter US Navy submarines had blockedJapanese shipping routes.The painting depicts one of Detachment101’s many guerrilla operations staged todisrupt Japanese supply and reinforcementroutes in Burma. Staked out on one sideof the Irrawaddy River, OSS-trained Kachinrangers ambush Japanese rafts bringingtroops and supplies to the Japanese-held STUART BROWN14 Irrawaddy AmbushTHE ART OF INTELLIGENCE 15

AMBUSH IN MANCHURIADRU BLAIR2010. Mixed media on illustration board38 29Donated by Alan SeigristNovember 1950 marked the entry of Chinesecommunist military forces into the Koreanwar as the new communist government inChina was rapidly expanding its influenceelsewhere in Asia. To frustrate China’s expansionism, the Truman Administration turnedto the fledgling (three-year-old) CIA through acovert-action program on the Chinese mainland designed to foster internal democraticopposition to the communist regime anddivert some of its military resources fromcombat against US forces in Korea.One particularly sensitive program in theearly 1950s involved Civil Air Transport(CAT), a CIA proprietary airline that aided theAgency’s efforts to support anti-communistChinese guerrillas along the China-Koreaborder and inside mainland China. Whileleaflet, supply, and agent airdrops posed considerable dangers, the most perilous flightswere air exfiltrations in which low-altitude,slow-moving planes hoisted agents from theground—only the most trusted and experienced pilot volunteers flew these missions.Norman A. Schwartz and his friend andfellow pilot, Robert C. Snoddy, were amongthe elite group of CAT volunteers to flyagent exfiltration missions. They trained tofly a C-47 aircraft (the military version of acommercial DC-3) specially outfitted witha unique retrieval system of a pole, hook,cable, and winch designed to snatch a person from the ground and reel him into theplane on the fly.On 29 November 1952, Schwartz and Snoddypiloted the C-47 on an exfiltration mission inManchuria. Also aboard were two young CIAparamilitary officers—John T. Downey andRichard G. Fecteau. Leaving a Korean airfieldat 10 pm, the flight reached the pickup zonejust after midnight and headed for the pickuppoint, well marked with three bonfires flaringout of the darkness. The aircraft was about50 feet off the ground at a near-stalling 60knots on its final approach. With the plane’srear door removed, Fecteau and Downeyhad extended the pole with hook and cableattached, ready to catch the awaiting agent’sline and then to winch him in.The crew proceeded according to plan,unaware that Chinese communist units hadbeen tipped off about the flight and werewaiting in ambush. Suddenly, a murderousbarrage of gunfire erupted from groundtroops hiding in the darkness. The pilots wereable to prevent an immediate crash; however,when the engines cut out, the aircraft glidedto a controlled crash. Schwartz and Snoddywere killed. Other than suffering bruises andbeing shaken up, Downey and Fecteau werenot seriously hurt.Downey and Fecteau were captured, convicted of espionage, and imprisoned. Overthe years, numerous US efforts to obtaintheir release failed. Fecteau was eventuallyreleased in December 1971, nearly a yearshy of his 20-year sentence. Downey wasreleased 15 months later, serving just over 20years of his life sentence.Schwartz and Snoddy posthumously receivedthe CIA Distinguished Intelligence Cross inrecognition of their exceptional valor and sacrifice. Downey and Fecteau received the CIADistinguished Intelligence Medal for “courageous performance” in enduring “sufferingsand deprivations with fortitude [and an]unshakable will to survive and with a preserving faith in [their] country.” They returned tothe Agency in 1998 to receive the Director’sMedal and in 2014 received the DistinguishedIntelligence Cross, the Agency’s highesthonor for valor.CIA Director Leon Panetta welcomed JohnDowney and Richard Fecteau back to CIAin 2010 for the unveiling of the paintingand the premiere of Extraordinary Fidelity,a documentary film about their 20-yearimprisonment in China. “Jack and Dick, youare true American heroes and the prideof our Agency. Thank you for being greatexamples for all of us,” said Director Panettaduring the standing-room-only event in theHeadquarters auditorium. DRU BLAIR16 Ambush in ManchuriaTHE ART OF INTELLIGENCE 17

EARTHQUAKE’S FINAL FLIGHTJEFFREY W. BASS2004. Oil on canvas43 30½Donated by the Fairchild CorporationThis painting commemorates air operations of Civil Air Transport (CAT,an Agency proprietary) and its CIA contract pilots in support of Frenchforces at Dien Bien Phu during the final days of the conflict betweenthe French and Viet Minh in 1954. In Fairchild C-119s with US Air Forcemarkings hurriedly painted over with French Air Force roundels, 37 CATpilots volunteered to fly supplies from the French airbase at Haiphongto the battlefield near Vietnam’s border with Laos.In a concentrated operation to resupply the beleaguered French forces,the pilots and crews made 682 airdrops between 13 March and 6 May1954, flying through murderous antiaircraft fire that ringed the valleyat Dien Bien Phu. On 6 May, the day before the Viet Minh overran theFrench fortifications, antiaircraft flak hit an engine and control surfacesof the C-119 flown by legendary CAT pilot James McGovern (nicknamed“Earthquake McGoon”) and copilot Wallace Buford, who struggledgallantly to stay airborne. The plane limped over the border into Laosand crashed, killing McGovern and Buford—among the first Americansto die in the early days of a conflict later to be known as the Vietnamwar—and two French paratroopers.The painting depicts McGovern’s C-119 shortly after a flak burst has disabled its port engine over the drop zone at “Isabelle,” an outpost of theFrench garrison at Dien Bien Phu. After the shell impact, oil streams outof the engine nacelle, causing the engine to seize and its propeller tobecome frozen at operational pitch in a cross position. Having ejectedthe plane’s cargo over Isabelle, the cargo kickers sit in the rear openingof the fuselage, resigned to their fate.The crash site was located in 2002, and DNA tests in 2006 confirmedthe recovered remains were McGovern’s. He was buried with honorsat Arlington National Cemetery on 24 May 2007. Pieces of his valiantC-119 are now in the CIA Museum collection.When the painting was unveiled at his residence in 2005, FrenchAmbassador Jean-David Levite presented the French Republic’s highestaward (the Légion d’Honneur) to five of the six surviving CAT pilotspresent, in recognition of their heroic performance in the epic battlethat marked the end of French colonial rule in Indochina. JEFFREY W. BASS18 Earthquake’s Final FlightTHE ART OF INTELLIGENCE 19

the ceiling of any existing Soviet fighterplane. Innocuously designated “U-2,” shortfor Utility 2, the plane went from blueprint toflying prototype in just eight months and fulloperational status in just 18. CIA recruitedand trained US Air Force pilots who were“sheep dipped” as CIA contractors, all thewhile maintaining their military career status.operation was consolidated with the existingUS Air Force U-2 operation. The U-2 Programcontinues to provide valuable intelligence onhot spots around the world—many decadesafter the first U-2 flight.U-2 operations deployed to West Germany inthe late spring of 1956. After an initial flightover Communist Poland and East Germanybrought back usable imagery, PresidentEisenhower authorized Soviet overflights. Thehonor of flying the first mission over Sovietterritory went to Hervey S. Stockman, a34-year-old WWII veteran and P-51 Mustangfighter pilot. On 4 July 1956, Stockmanflew U-2 Article 347 on Mission 2013 fromWiesbaden, West Germany, over Poznan,Poland, across Belorussia to Leningrad, andover the Baltic states back to home base. Thepainting depicts the view from Stockman’scockpit on this historic flight over Leningrad.(Stockman later flew F-4C Phantoms in theVietnam war; forced to eject over NorthVietnam in 1967, he spent six years thereas a POW. Article 347 is now on display atthe Smithsonian’s National Air and SpaceMuseum in Washington, DC.) DRU BLAIRPIERCING THE CURTAINDRU BLAIR2016. Mixed media on illustration board36 18Commissioned by the CIA Museum20 Piercing the CurtainIn the early 1950s, with the Korean warwinding down and the Cold War revving up,the US recognized that its knowledge ofSoviet strategic capabilities—bomber forces,ballistic missiles, submarine forces, nuclearweapons—was dangerously weak. CapturedGerman overhead photographs and documents on Soviet capabilities from World WarII were outdated. Interrogations of repatriated POWs and German scientists leavingthe Soviet Union were of minimal value. USattempts to photograph the Communist Bloccountries through covert peripheral overflights and unmanned balloons yielded littleinformation. Stringent security behind theIron Curtain had effectively blocked access toall Soviet planning, production, and deployment activities, blunting traditional intelligence collection methods.Soviet unveiling of the Mya-4 (“Bison”) longrange strategic bomber in 1954 triggereda debate in the US over the size of USSR’sbomber fleet and the threat that it posed.Faced with a potentially dangerous strategicdisadvantage (the so-called “bomber gap”),President Dwight D. Eisenhower was determined to assess the true scope and nature ofthe Soviet threat. His approval of a high-altitude photoreconnaissance airplane designedto evade Soviet air defenses—with CIA incharge of its development and operation—signaled the Intelligence Community’s entryinto overhead reconnaissance. CIA codenamed the project AQUATONE and madeRichard Bissell its manager.Bissell liked Lockheed’s CL-282, a newreconnaissance aircraft proposed by thelegendary Clarence “Kelly” Johnson, andconvinced DCI Allen Dulles to fund the project. The unusually light aircraft resembled ajet-powered glider with a single engine, solopilot, and 70-foot wingspan optimized for3,000-mile-long flights at 70,000 feet—twiceSoviet radar tracked Stockman’s U-2 as itsstate-of-the-art A-2 cameras photographednaval shipyards and Bison bomber bases,but MiG fighters were unable to fly highenough to intercept it. Despite Soviet protests, President Eisenhower continued topersonally authorize each of 23 subsequentmissions over the USSR until a Soviet SA-2surface-to-air missile downed the U-2 pilotedby Francis Gary Powers on 1 May 1960 nearSverdlovsk. Eisenhower abruptly ordered anend to further Soviet Union overflights.CIA photointerpreters studying the imageryfrom Stockman’s flight and the next fourSoviet missions confirmed a Bison fleet oflimited size, thereby debunking the bombergap and saving the United States millions ofdollars of unnecessary spending to countera non-existent threat. Later U-2 missionsprovided imagery of equal value on a range ofstrategic intelligence issues.Originally expected to fly for two yearsbefore countered by Soviet air defenses, theU-2 served CIA until 1974 when its covert U-2THE ART OF INTELLIGENCE 21

KHAMPA AIRLIFT TO TIBETDRU BLAIR2013. Mixed media on illustration board40 29Donated by Gar Thorsrud and Douglas PriceIn the summer of 1950, communist Chinese troops invaded Tibetand seized Chamdo Province, easily subduing the Khampas, a hardycollection of Tibetan clans with a reputation for ferocity. Tibet becameenmeshed in the developing Asian Cold War as the Chinese occupationsteadily expanded. Conscious of this development when he took officein 1953, and in keeping with US anti-communist policies worldwide,President Eisenhower tasked CIA to provide covert assistance to theTibetan resistance movement.The Agency trained Tibetans in paramilitary techniques and sent themback to organize the guerrilla fighters in Tibet. Starting in 1957, pilots andcrews of Civil Air Transport, a CIA proprietary company, secretly airdropped trainees for the guerrillas and more than 250 tons of materiel—arms, ammunition, radios, medical supplies, and such—from low-flyingDC-6, B-17, and C-130 cargo planes under cover of darkness.Key to the airdrops was the recruitment of personnel with extensiveexperience in airdrop and parachute operations to help train the Tibetansfor their missions. The painting commemorates these airdrop operationsand serves as a tribute to the pilots, air crews, and many Agency support personnel who devoted themselves for so many years to the causeof Tibetan freedom.In the end, despite dedicated Agency efforts, the Tibetan resistance hadonly limited success. Chinese military forces were ruthless and overwhelming, and sufficient local guerrilla support never materialized. CIA’schief proponent of the Tibetans died unexpectedly in 1967, and realitysoon became abundantly clear—the Tibetan guerrillas stood no chanceagainst the Chinese. This reality coupled with President Nixon’s plans toestablish diplomatic relations with China meant that US support to Tibetwas no longer strategically or geopolitically feasible. The White Housedirected that this support be withdrawn, and the Tibetan resistancesubsequently folded in 1974.Many of the CIA officers who contributed to CIA support to the Tibetanguerrillas in the 1950s and 1960s attended the painting’s unveiling in2014. A former CIA officer known as CIA’s “Father of Aerial Delivery”described the airdrops as “professionally orchestrated” and “executedflawlessly.” A Special Activities Division officer elaborated, saying, “Thepainting captures the ingenuity, selflessness, bravery, and sacrifice ofthose whose actions wrote the chapters that serve as the foundationof our work today.” DRU BLAIR22 Khampa Airlift to TibetTHE ART OF INTELLIGENCE 23

THE SECRET PLA POUCH HEADS FOR K BUILDINGKEITH WOODCOCK2009. Oil on canvas56 34Donated by Bruce WalkerBeginning in the mid-1950s, CIA supportedlocal Tibetan resistance to the Chineseoccupation. The Agency secretly trainedTibetan tribesmen in paramilitary operationsat a site chosen for its resemblance to theHimalayan Plateau. (The Tibetans loved thetraining camp so much that they nicknamedit Dhumra, meaning “The Garden.”) Sometrainees parachuted back into Tibet, but mostjoined Tibetan resistance forces at a nearbyrebel base. From time to time, small partieswould deploy to observe Chinese militarymovements.On 25 October 1961, a party led by twoAgency-trained Tibetans ambushed a lonetruck of the Chinese People’s Liberation Army(PLA) heading east on the Xinjiang-Lhasahighway. All Chinese occupants of the truckwere killed, including a senior PLA officerwho was carrying a pouch of secret PLA documents. This potentially valuable intelligencetreasure then took a circuitous 8,000-milejourney to Washington, DC. In November, thepouch arrived intact—bloodstains and all—atBuilding K, one of the World War II temporarybuildings along the Mall’s reflecting pool andhome of the Agency’s clandestine operations.After the humiliating failure of the Bay of Pigsoperation just seven months earlier, Directorof Central Intelligence Allen Dulles was eagerto tout this major intelligence success. Withthe bloodstained pouch and captured documents in hand, Dulles presented to PresidentKennedy’s top national security advisors thisdramatic evidence of the intelligence payoffof the Tibetan operation.Despite this collection success, however, theTibetan resistance forces, lacking widespreadlocal support, were unable to do more thanharass the Chinese occupiers. The operation eventually wound down, and Beijingapplied pressure to close the rebel base. TheTibetans became, in the words of one oftheir former case officers, “hapless orphansof the Cold War.”At the painting’s 2009 unveiling, the NationalClandestine Service Chief of Staff stated,“The remembrance of the past is crucial inthe lives of individuals and institutions alike.”He concluded that the painting will helpcurrent and future CIA officers appreciate invisual form what was done in the past andhow it shapes who we are today.The pouch’s contents proved to be the firstand most definitive intelligence acquired bythe US on the existing geopolitical situation inChina—at a time when the Agency’s humanintelligence was lacking and technical intelligence was nil. When translated, the PLAdocuments yielded valuable information onthree critical subjects: The failure of Mao’s Great LeapForward Movement, which had disastrous consequences for the Chineseeconomy The severity of the break in SinoSoviet relations and its implications forinternational communism The weakness of the People’s Militia,belying its status as a significant component of the Chinese armed forces. KEITH WOODCOCK24 The Secret PLA Pouch Heads for K BuildingTHE ART OF INTE LLIGE NCE 25

SEVEN DAYS IN THE ARCTICKEITH WOODCOCK2007. Oil on canvas26 36Donated by Gar and Audrey ThorsrudDuring the Cold War, the US and SovietUnion

To support these efforts, CSI publishes books and monographs addressing historical, operational, doctrinal, and theoretical aspects of the intelligence profession, to include this publication. CSI also administers the CIA Museum. Comments and questions may be addressed to: Center for the Study of Intelligence