To understand Maggie Michael’s paintings, start from the bottom.
Washington, D.C
Review | Maggie Michael may be D.C.’s most vital, volatile painter
In “Understory,” a show of Michael’s recent works on view near Union Market, motion is always key. Tall vertical paintings such as “Boulder Monument (Orange)” (2020/2022) and “Moon Fall (Mt. Hood, Mt. Sopris, Clay)” (2024) evoke the volcanic action of an idea rising to the surface and spilling over. The latest works by Michael — perhaps the most vital and visible D.C. painter since Sam Gilliam — unfold as a series of volatile discoveries.
Michael’s lyrical painting is a reminder of the power of pure abstraction as a lens for finding the world, as it is and as it could be. That Michael’s first major solo show since 2016 arrives at an all-time nadir for abstract-expressionist painting only makes the show more riveting.
Ten years ago, things were different. An overheated market was fixated on highly abstract post-minimalist painting, inviting a craze by collectors for “zombie formalism.” But abstraction is no longer top of mind for curators and dealers. Instead, museums and galleries across the country are deeply engaged with figurative painting, tackling urgent issues about identity and representation. Some critics say the rebound has gone too far, subbing a fad for abstraction with a fever for “zombie figuration.”
Michael’s style recalls mid-century ideals about the value of painting. Objects make frequent appearances on her canvases. A small grid-like device shows up in “Pink for Kiefer, Homage to Midgard” (2023-2024) and other works, a way of mentioning the hard-edge geometric tradition in abstract painting while also toying with the notion of the surface. The snakeskin that Michael pins to “Night Studio” (2024) is a casual quotation of Robert Rauschenberg, whose sculptural combines stretched the notion of painting with taxidermy and tires. She has an arsenal of abstract-expressionist strategies at her disposal, but as a stylist, she makes them all her own.
Michael produced 15 of the paintings in “Understory” while working as an artist-in-residence at the Joan Mitchell Center in New Orleans. During her residency, Michael says, she tried to produce a diptych or triptych in tribute to Mitchell, the New York School artist who relished large-format paintings, but it didn’t happen. That’s not so surprising. Michael is a tighter painter, and her style is much more densely plotted. For “Understory,” which occupies a space that once served as a Lululemon store, Michael uses the former fitting rooms to showcase a rotation of more than a dozen small paintings, some as little as 10 inches square — small in scale but not in scope.
With its epic sweep, “Chagall’s Horse Lands in Utah” (2021-2022) could easily take up an entire wall. In the painting, the loosest figure of a horse charges under an ocher orb that might signify a setting sun. Michael frames this circle with a stencil from player-piano print roll, another one of the artist’s signature marks. This painting summons the vast reaches of a twilight dreamscape, but the actual production is quite condensed. Michael delivers novellas that read like myth.
“Chagall’s Horse Lands in Utah” could be a fitting title for Michael’s entire project. Her approach to drafting abstract sagas draws on a rich and distinctly American painterly tradition. One of her own paintings tests the rule: “American Seance for CoBrA (Malachite)” (2022) stands apart from the others, with a muddled, primitive, almost Crayola-like brushstroke. Both the title and style nod to CoBrA — a collective of postwar European painters from Copenhagen (Co), Brussels (Br) and Amsterdam (A) — and specifically within this group Karel Appel, the founder from Amsterdam. Nestled within this very non-American and un-Michael-like piece is a section of painting that resembles malachite, a mineral whose radial copper banding is prized by Navajo and Hopi tribes in the Southwest.
These vivid undercurrents bubble up in one painting after another, although the sheer size of “Understory” means that viewers might miss such moments. The show, assembled by Michael herself, features nearly 50 paintings staged on multiple levels. At 3,000 square feet, the space is vast enough that it doesn’t feel cramped or forced; in fact, only an especially prolific artist could hope to fill it. But “Understory” risks being overwhelming. Two or three subsets of paintings in this show could easily stand on their own.
The most difficult painting on view might also be the most figurative. The composition of “Olympia’s Odalesque” (2017/2018) speaks directly to Édouard Manet’s “Olympia” (1863), the reclining nude Venus whose hand rests on her thigh like a tarantula. In Michael’s composition, a hard-edge rectangle intersected by a chevron conveys the thrust of a chaise longue within a frame. But the figure-ish shape inside that frame is cramped, its head missing, with only a nipple-like protrusion to suggest any feminine identity — a bleak reading of the original.
It may take another biennial or two for expressionist paintings to come back into vogue. Abstraction has lost its place, perhaps, but none of its power. Swoops of texture and gesture in a painting such as “Antelope Falls, Nude Descending” (2024) can unlock a primal feeling, as poetry or music manifests goose bumps or heart palpitations. Michael’s paintings dwell in that rush of blood, that sense of sensation.
If you go
Maggie Michael: Understory
1256 Fourth St. NE. unionmarketdc.com.
Washington, D.C
The director of the Congressional Budget Office—known for its gloomy national debt data—is very optimistic that a crisis will be avoided entirely | Fortune
Dr Phillip Swagel is an optimist, both by nature and when he looks at the U.S. economy.
This fact is perhaps at odds with what one might assume: Swagel is the director of the Congressional Budget Office (CBO), the nonpartisan agency that offers independent budgetary and economic analysis to Congress.
Very often—an inevitable occupational hazard—the subject of national debt and the interest the U.S. Treasury pays to maintain is its central focus. The numbers are eye-watering: Public debt stands at more than $39 trillion. The interest expense on that borrowing now exceeds $1 trillion a year. Indeed, the latest budget update from the CBO highlights that the government—according to preliminary estimates—paid out nearly $530 billion between October 2025, when the fiscal year starts, and March 2026. This equates to more than $88 billion in interest payments a month, or more than $22 billion a week.
The CBO’s figures are routinely cited by policymakers, think tanks, and lobbyists as alarming evidence that the U.S. needs to find a more sustainable fiscal path or risk dire straits.
Swagel doesn’t subscribe to the notion that the U.S. will face a crisis of its own making. His justification is simple: He was at the Treasury during the 2008 financial crisis, and joined the CBO months before the COVID pandemic began. He has watched as the U.S. economy, seemingly against all odds, has clawed its way out of economic crises before.
That’s not to say Swagel isn’t a staunch advocate of setting the U.S. on a more sustainable fiscal path—rather, he trusts the people in power to do so when the time comes.
Why the optimism?
Among those concerned about national debt are notable names: JPMorgan Chase CEO Jamie Dimon, Federal Reserve Chairman Jerome Powell, and Bridgewater Associates founder Ray Dalio. Tesla CEO Elon Musk is also worried about federal spending and has endorsed a plan floated by Berkshire Hathaway founder Warren Buffett that would render members of Congress ineligible for reelection if they allow deficits to exceed 3% of GDP.
On the other hand, optimistic economists suggest that, despite the value of the debt, it’s not actually an issue: the bond market is holding steady, indicating a reliable market of buyers. Likewise, the U.S.’s own central bank buys huge swaths of the debt, meaning, in the simplest of layman’s terms, the economy can essentially print its own money. There are holes in this argument, not least the fact that Fed chairman nominee Kevin Warsh has suggested he would like to reduce the Fed’s balance sheet and may therefore be less inclined to finance borrowing.
Swagel’s positive outlook doesn’t rely on the argument that a crisis hasn’t happened yet, so therefore it never will: “[My optimism] is rooted in my experience,” Swagel tells Fortune in an exclusive interview in Washington D.C. “First being at Treasury during the financial crisis and seeing very difficult times and the country coming together with an effective response—not saying it’s perfect, lots of controversy—but it was effective.”
“The second thing is policymakers are smart, they’re thoughtful. Interacting with members of Congress makes me optimistic. I know you read about all the squabbles … I’m completely aware of this, but the policymakers that are thinking about these things are thoughtful and effective. Not necessarily always effective at passing legislation, but that’s part of our political system, it was set up to make it difficult ot pass legislation.”
Decisions on the horizon
Swagel’s optimism that Congress will be pushed into action will be tested sooner rather than later, likely at some point in the next six years, he told Fortune. This is partly due to the fact that, according to the Committee for a Responsible Federal Budget (CRFB) both Social Security and Medicare will become insolvent within that time period.
“Making progress to address the fiscal trajectory would be a positive for the U.S. economy,” Swagel said. “Credible steps would lead to lower interest rates that would make the subsequent adjustment easier, there is a reward to virtue. It’s a positive thing, we can’t go on [with] the scolding narrative. My sense is that members of Congress understand the fiscal situation, it’s not that everyone single one has looked at our one-pager of numbers and understands the debt to the third decimal point, but they understand something needs to be done.”
“It doesn’t have to be done immediately, but at some point reasonably soon.”
Swagel is of the opinion that bond investors haven’t increased risk premiums not because they’re not worried about a fiscal crisis, but because they have priced in preventative action from Congress—in his mind “a vote of confidence that my optimism is not misplaced.”
“As a country, we face up to these problems. It’s not happening now, I’m not sure it’s going to happen in the rest of this year or even the next year, or the next two years. But we will face up to it, and the market in some sense expects us to, because otherwise interest rates would be higher,” he explained.
The Cheesecake Factory
The role of the CBO, to some extent, is to provide policymakers with their options if and when they do choose to take action on federal deficits. It’s a menu not unlike the Cheesecake Factory, Swagel says: Large, inclusive of a range of modifications and options, and delivered without judgement.
“Right now it’s maybe a pick three, and you’re looking at a six or seven course menu,” joked Caleb Quakenbush, director of fiscal policy at the Bipartisan Policy Center, in an interview with Fortune. “The longer you delay, the more you’re gonna have to add to your tab, and those options become more expensive.”
Indeed, economists and analysts aren’t necessarily worried about the absolute level of government debt, rather the debt-to-GDP ratio. Depending on whom you ask, the debt-to-GDP ratio stands at around 122% of GDP at present. This measure demonstrates an economy’s spending versus its growth, and the risk associated with lending to a nation that isn’t growing fast enough to handle its spending. To rebalance that ratio, an economy could either cut spending or increase growth—the latter being by far the less painful option.
The growth option is becoming less feasible, Michael Peterson, CEO of fiscal think tank the Peter G. Peterson Foundation, told Fortune in an exclusive interview: “I think it requires government action because we’ve waited so long. We’ve added so many trillions, and the current deficit is so big at 6% that the level of growth you would need really exceeds what is feasible.
“Growth needs to be a part of it, but it’s sort of a vicious cycle. The longer we delay, the more debt we have, the slower growth is going to be. The more we get this under control, I think the greater optimism there is, interest rates go down, more growth comes from that. It’s sort of a virtuous or vicious cycle depending on your policy response.”
TALLAHASSEE, Fla. (WCTV) – Seventy-two veterans took a trip Saturday to our nation’s capital to visit memorials honoring their service in the armed forces.
This year marks the 12th trip to Washington, D.C. for Honor Flight Tallahassee.
Early Saturday morning, veterans and their guardians met to take a charter flight up to D.C.
Throughout the day, veterans were taken to the World War II memorial, as well as the Korean and Vietnam War memorials. The veterans also visited Arlington National Cemetery and the Tomb of the Unknown Soldier.
More Tallahassee news:
The day ended with a wonderful welcome home celebration.
Our Jacob Murphey, Julia Miller, Taylor Viles, and Grace Temple accompanied the veterans, capturing moments from throughout the day.
The team will have live coverage from Washington, D.C. on Monday to share more from the day’s events.
We will continue to have coverage throughout the month of May, leading up to our Honor Flight special on Memorial Day.
To keep up with the latest news as it develops, follow WCTV on Facebook, Instagram, YouTube, Nextdoor and X (Twitter).
Have a news tip or see an error? Write to us here. Please include the article’s headline in your message.
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Copyright 2026 WCTV. All rights reserved.
4 things to know about the weather:
- Chances of rain in the morning
- Gusty Sunday
- Chilly Monday
- Temps will rise again through the work week
Download the NBC Washington app on iOS and Android to check the weather radar on the go.
After a nice and warm Saturday, changes arrive for part two of the weekend.
The first half of your Sunday will have a chance for showers. Winds will pick up with our next system and are expected to gust to about 20-30 mph. Cooler air will settle in, and lows Sunday night fall into the 40s.
Highs temps Monday will reach only into the mid to upper 50s.
However, temperatures will rise through the week, so you won’t need your jackets every day.
QuickCast
SUNDAY:
Showers, then partly cloudy
Wind: NW 10-15 mph
Gusts @ 30 mph
HIGH: Lower 60s
MONDAY:
Partly cloudy
Wind: NW 10-15 mph
Gusts @ 25 mph
HIGH: Upper 50s
Stay with Storm Team4 for the latest forecast. Download the NBC Washington app on iOS and Android to get severe weather alerts on your phone.
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