But before the works could return to the walls, they would need to be assessed by conservators. Thirty-six years in unknown conditions—temperature, humidity, light exposure, physical handling, the initial stress of being cut from stretchers and rolled—could have caused damage ranging from minor to catastrophic. The assessment would determine what conservation work was necessary and possible.
Large canvases that were cut from their stretchers and subjected to extended storage present particular challenges. Paint layers on old canvas are rigid; the canvas itself is more flexible. When a large canvas is rolled or folded, the paint layers can crack along the folds. When it is unrolled, the cracks open. Over decades, cracking can progress significantly. The paintings might be recoverable with extensive conservation work, or they might be severely damaged, or they might be essentially intact. No one knows.
The $10 million reward would be paid to whoever provided the information that led to the recovery. The legal process around that payment would depend on the specific circumstances of how the tip was provided and how the recovery happened.
Whether any criminal prosecution would follow would depend on who had the works, how they came to have them, and what criminal exposure attached to their specific situation. As noted, the statute of limitations on the 1990 theft has expired. Prosecution for current possession of stolen property remains theoretically possible. The FBI and museum have signaled that their priority is recovery, not prosecution, but they have not offered blanket immunity to everyone who has ever touched the works.