The Justice Department’s latest salvo in the battle over the future of the Kennedy Center claims President Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal,” according to a Monday court filing, which also threatens a possible demolition of the historic building.
Without the president’s interventions, says the filing, “the Center will deteriorate further into an unsafe, decrepit structure that will be required to be taken down, with a determination to follow on what to build on the site.”
The filing by the administration’s lawyers came in response to the efforts of Rep. Joyce Beatty (D-Ohio) to block the Kennedy Center board from adding the president’s name to the building. The 21-page document argues that the “prestige” afforded by such an addition is both necessary and warranted.
“The Board also underscores, and the undisputed evidence demonstrates, that without the prominent recognition of The Trump Administration, and President Trump’s efforts, the donors will not contribute, and the Center will continue to be in a financial and structural death spiral,” the filing reads. “The Trump Administration, and President Donald J. Trump, should, therefore, be given the respect and dignity of acknowledgement.”
The filing also suggests what could replace the center if the building were to be torn down: “a large outdoor amphitheater overlooking the Potomac River … has been proposed, by some, for many years.”
“Such a replacement will fail to adequately honor President John F. Kennedy, but would be simpler and more economical to build, operate, and maintain,” the administration’s lawyers wrote in the filing.
Such a tear down would face enormous legal pushback, but preservation groups are already on high alert after Trump’s swift demolition of the White House’s East Wing, which was completed before a challenge could be fully mounted.
The Kennedy Center has been mired in controversy since Trump fired its board and had himself appointed chairman in the early months of his second term. Artist and staff defections became common after that, but the question of the center’s survival came into stark relief in early February when Trump declared his intention to shutter the center for two years of renovations.
That decision came after the Kennedy Center board voted in December to add Trump’s name to the building. Both the closure and the renaming were halted in a May ruling by Federal District Court Judge Christopher R. Cooper who is still overseeing the legal back-and-forth over the center’s fate.
Cooper originally gave the administration until mid-June to remove Trump’s name from the building. The administration complied by placing a tarp over the sign, which has remained ever since.
The most recent court filing claiming the center’s survival rests with Trump is in stark contrast to a recent Washington Post investigation that found the center’s revenue plunged after Trump’s name was added to the building.
A wonderful Oval Office perk is what Thomas Jefferson dubbed “The President’s Own.” At the president’s beck and call is the United States Marine Band, created by an act of Congress in 1798.
But for an acquisitive current occupant of the White House, the oldest continuously active musical organization hasn’t seemed enough. In his appropriating the John F. Kennedy Center for the Performing Arts, also created and officially named by Congress, the president obtained the National Symphony Orchestra. Unlike its “President’s Own” sibling, which is supported by the Defense Department annual allotment of some $400 million for military bands, the NSO is administered, funded (between a third and half of its $35-million budget) and lately threatened by what are now the whims of the Kennedy Center.
The NSO appeared at the Hollywood Bowl on Tuesday night, however, with a collective sigh of relief. A week earlier the Kennedy Center Board, without congressional input or legal approval, approved an imminent, two-year closure of the venue for repairs and remodeling, with little word about the homeless or economic future of its artist affiliate. By early August, no new NSO season, which would begin in September, had been announced.
But Tuesday morning, the NSO, in fact, did lay out a full and musically substantial season, the 10th for its music director, Gianandrea Noseda. Not taking a chance on the courts preventing a Kennedy Center closure, the NSO will become next season a peripatetic ensemble performing in various venues in and around D.C., as well undertake a national tour in the spring. Uncertainty remains, but for now all is as well as can be expected.
The NSO, however, offered little of what to expect. I can only find one program next season as unimaginative as Tuesday’s at the Bowl. The orchestra looks forward to several premieres of new works by lively composers and a variety of significant guest conductors, including the venturesome Teddy Abrams (who will lead the Los Angeles Philharmonic’s season-opening gala) and eclectic former NSO music director Leonard Slatkin (who is also the former L.A. Phil principal guest conductor for the Hollywood Bowl). Noseda’s only other bland program will be the one he brings on tour to The Soraya in April.
Hearing the NSO at the Bowl, moreover, is an act of guess work. With the new immersive sound system, orchestra impact becomes a matter of technology, giving individual instruments paranormal prominence and turning full orchestra glory into a sensual sound bath. Still, with its smooth strings, creamy brass, pungent winds and friendly percussion, Noseda’s NSO came across as a gracious orchestra meant to please, and, consequently, a seemingly marvelous anomaly in an otherwise divisive present-day D.C.
But that offered few favors for Leonard Bernstein’s Symphonic Dances from “West Side Story” or Gershwin’s “An American in Paris,” where the Bowl has regularly hosted far more idiomatic, swinging performances. Dvorak’s “New World Symphony” in the second half was, on the other hand, satisfyingly full-bodied. While Noseda sometimes practices likability to a fault, his sense of drama is ever sure, and it is hard to get enough of the lyrical sweetness he conveys. As an encore, Noseda led the overture to Bernstein’s “Candide” with real flair.
But why commonplace “Candide” and “West Side Story,” when Bernstein wrote “Slava! A Political Overture,” for the NSO as tribute in 1977 to its Russian music director, Mstislav Rostropovich? Might not the NSO make a point with “Three Mediations” from “MASS,” Bernstein’s multimedia masterpiece that controversially opened Kennedy Center in 1974. Bernstein also wrote a major late work for the NSO, “Songfest.” Bernstein, himself, conducted the Los Angeles Philharmonic in the West Coast premiere at the Bowl in 1983, which had special significance because his collaborator on “Songfest,” Tom Cothran, who happened to have grown up in Pasadena.
For his part, Noseda has done an exceptional job in championing major Black composers at home and on record. Carlos Simon has been the NSO’s composer in residence for the last five years, and Noseda has revived and recorded an essential album of works by George Walker. In October, Noseda and the NSO will release a recording of two symphonies by William Grant Still, who lived in L.A. Deeply evocative of a post-Dvorak new world, they are beautifully played on the new recording and would have been ideal for the Bowl.
The NSO has given up on the Kennedy Center, but must we? There are many questions that have not been considered. The current plan for infrastructure improvements and slapdash redecorating at the cost of $250 million. In fact, the facility’s playhouse, opera theater and concert hall are due for major renovations. But that requires significant planning, the hiring of a major architecture firm with concert hall experience, a first-rate acoustician and, ideally, four times the allotted budget.
This is clearly a long-term job for Congress and consultants who would do well to study the approach of the Salzburg Festival. It has been planning for several years to rehabilitate its large concert hall (which is of similar vintage to the Kennedy Center), which will require five years and a cost of around $600 million. It is also carefully examining alternate performance sites to be used during construction.
The Kennedy Center is a memorial, and before another new idea is allowed out, let the Kennedy Center board visit Lincoln Memorial Reflecting Pool for a moment of reflection on how and why to bring the NSO, America’s Own, back home. In the background, the U.S. Marine Band could offer its kin moral support by playing in the background Ives’ mysteriously transcendental “Unanswered Question.”
A Democratic senator alleges that whistleblowers have detailed several problems stemming from rushed or improper reconstruction of the Kennedy Center, adding a new layer to the travails of the arts complex after President Trump tried to seize control of it and its name.
Sheldon Whitehouse of Rhode Island said in a release Saturday that he had received a whistleblower disclosure from the Government Accountability Project, a nonprofit whistleblower protection group, alleging that “the Center rushed a series of renovations driven by the President’s aesthetic whims and his desire to star in a series of televised events in December.”
“The Center’s subservience to the President’s desires and its corner-cutting contracting practices have resulted in steel columns that are rusting through fresh paint, a reflecting pool that may have to be torn out and rebuilt, and a brand-new bathroom floor torn out over an offending tile color,” Whitehouse said. “This is waste, and it treats a national memorial to President Kennedy as if it were a private renovation project.”
Whitehouse released a letter he wrote to the Kennedy Center’s executive director, Matt Floca, seeking answers by July 23. He said the whistleblower report included “firsthand accounts of multiple former Center project managers, supported by contemporaneous documents and photographs.” He also included an 83-page appendix full of internal center documents, emails and photos of apparently shoddy construction.
The allegations in the letter include that the center rushed work before it was authorized by Congress because it wanted it to be complete for Trump to accept the so-called FIFA Peace Prize that the soccer federation awarded him.
In doing so, the letter alleges, the center didn’t follow required contracting guidelines and wasted money replacing a bathroom because the president didn’t like the color and inking no-bid contracts. One $8-million contract to replace the concert hall’s floor went to a firm with no experience in concert halls, Whitehouse contended.
The Kennedy Center did not immediately respond to a request for comment.
Trump seized control of the arts and culture venue named for President Kennedy at the beginning of his second term. Trump ousted the center’s leadership and replaced it with a Board of Trustees that named him chairman and added his name to the building.
Democrats sued to remove it, and a federal judge ruled that Trump’s name must come off the venue, noting that only Congress has authority to rename it. Trump also tried to close the center for two years, only to be ordered by the court to keep it open.
Many artists have boycotted the venue in protest of the president’s actions.
A three-judge panel on Wednesday denied a request from the Kennedy Center’s board to keep President Trump’s name on the institution while the board appeals an earlier ruling that dubbed the name change illegal and had it rescinded.
It’s another setback for the board of trustees, of which Trump is chairman, in a saga that began earlier this year when the Kennedy Center became: “The Donald J. Trump and The John F. Kennedy Center for the Performing Arts.”
The conspicuous addition, and ensuing legal battle, became symbolic of Trump’s broader push to imprint his legacy — and, in this case, his actual name — on the nation’s capitol in his final term.
The panel of judges wrote Wednesday that the request “failed to show how they will be irreparably injured” if Trump’s name remains off the building through the appeal process.
The board had argued that the the removal “threatens to impede” fundraising efforts, but the judges found that claim came without the support of “specific facts or evidence.”
The Kennedy Center did not immediately respond to an emailed request for comment.
A federal judge earlier this year ruled that the name change was illegal, and Trump’s name was removed from the building’s white marble facade in June.
WASHINGTON — The curtain started to come down for President Trump at the Kennedy Center on Saturday.
After a day of legal maneuvers and thunderstorms, workers began the process in the early morning hours of removing the letters spelling out Trump’s name from the facade of the performing arts venue. They were a few hours past a court-ordered deadline and did their work shrouded by a tarp, much to the frustration of onlookers who had gathered for hours hoping to witness a dramatic moment symbolizing the limits of Trump’s power.
As the sun rose over Washington, the tarp remained in place, leaving it impossible to determine whether all the letters had been removed. Shortly after midnight, the Kennedy Center asked a judge to extend the deadline until noon Eastern time, citing the storms for delaying the work. The court agreed to that request Saturday morning.
The removal of Trump’s name closes one of the more unusual chapters in the history of the Kennedy Center, which began construction in 1964 and was dedicated to the memory of the slain president, John F. Kennedy. At what is typically one of the few relatively nonpartisan spaces in Washington, Trump has exerted unprecedented executive influence over the congressionally created venue during his second term.
Though he rarely discussed the Kennedy Center during his 2024 campaign, Trump moved quickly to oust the institution’s leadership when he returned to office in January 2025 and replaced it with a board of trustees that named him chairman. It rebranded the venue the “Donald J. Trump and John F. Kennedy Center for the Performing Arts” and his name was quickly added to the building’s exterior, though an official name change would require an act of Congress.
While the removal of his name marks a setback for Trump, he is moving forward with other plans to reshape the physical landscape of the nation’s capital in ways that have few modern parallels.
He demolished the East Wing of the White House and is building a controversial ballroom in its place. He remodeled the Lincoln Memorial Reflecting Pool and plans extensive renovations of a golf course in East Potomac Park, moves that could significantly reduce the public’s access to running and biking paths. He is also moving forward with a triumphal arch that would sit near Arlington National Cemetery across the Potomac River in Virginia.
Indeed, as Trump’s name is being removed from the Kennedy Center, the South Lawn of the White House has been transformed into a venue for a UFC match intended to celebrate the 250th anniversary of American independence but also coinciding with Trump’s birthday on Sunday.
Back at the Kennedy Center, there are many questions about the institution’s future. The same May court decision that ordered Trump’s name to be removed from the building also blocked a planned two-year closure for renovations that was set to begin next month.
The Kennedy Center’s calendar for the weeks ahead include performances of “Moulin Rouge! The Musical” and “Bluey’s Big Play.” Comedian Bill Maher is to be awarded the Mark Twain Award for American Humor during a ceremony on June 28.
But little is scheduled for the stages beyond that and, after the Kennedy Center substantially reduced staff, it is unclear how quickly it could build out a robust performance list. Trump, angered by the court’s order to remove his name, has said he would turn the Kennedy Center over to Congress and has suggested it might simply shutter because of public safety concerns.
In its unsuccessful appeal Friday seeking a pause on the order removing Trump’s name, the Kennedy Center’s leadership argued, in terms similar to the president’s use of language and framing of the argument, that the lower court was interfering with needed renovations.
“The District Court is not allowing us to close in order to properly fix up and repair the Building, including potentially life threatening structural damage like beams and parking garage ceilings that are rusted, and in serious danger of falling onto people below,” according to the appeal. “Indeed, total collapse!”
The institution also suggested that the president’s name could return to the building if the Kennedy Center later wins its appeal.
If the court denied the venue’s request for a pause, the Kennedy Center argued that it would “be forced to squander time and money — by both removing the signage and then potentially returning it after appeal.”
The Washington National Opera filed a lawsuit on Thursday that demands more than $17 million from the John F. Kennedy Center for the Performing Arts. The opera company claims it is owed millions in donations that have been withheld.
The lawsuit claims that after the opera company and the Kennedy Center parted ways in January, center officials have not returned more than $17 million in gifts and donations that belong to the opera company. The lawsuit lists the federal government as a defendant because the Kennedy Center was established by Congress.
According to the suit, the opera company and the Kennedy Center had a longstanding contract in which WNO produced its operas at the Kennedy Center, which in return, provided a number of services and other support for the opera company including managing its donations.
In late 2025, after approximately 15 years of affiliation, the suit claims that the Kennedy Center stopped performing the obligations of their agreement, which included marketing, fundraising and administrative support, as well as timely reporting on the growth of the opera company’s funds. When the opera company requested the Kennedy Center remedy the issue, center officials asked to sever ties.
“Five months have now passed since the termination of the affiliation, and the Kennedy Center still has not returned the funds to WNO,” reads the suit. “To the contrary, according to the Kennedy Center’s Chief Financial Officer, the Kennedy Center has put a significant portion of WNO’s money at risk by using it to collateralize the Kennedy Center’s line of credit.”
In an emailed statement responding to the lawsuit, Roma Daravi, a spokeswoman for the Kennedy Center, told The Times that the contract between the opera house and the center financially burdened the center for more than a decade. The statement claimed that taking into account the company’s endowment, an external accounting firm calculated that the opera company had “accumulated a $72 million deficit to the center” between 2011 and 2026.
“The Center has acted transparently and in the best interests of the public throughout this process,” the statement reads. “This lawsuit is meritless, and we plan to pursue a countersuit to defend the institution.”
In December, President Trump’s name was installed on the exterior of the center the day after his handpicked board of trustees voted to change the institution’s name to the “Trump-Kennedy Center.” Last month, a federal judge ordered President Trump’s name to be removed from the exterior of the building within two weeks and a halt to the Trump administration’s planned two-year closure of the venue.
On Friday, the court-ordered deadline for removing his name sparked widespread interest and crowds gathered outside the center. A live cam was also placed near the structure.
The Times arts editor Jessica Gelt contributed to this report.
WASHINGTON — A relentless push by President Trump to reshape Washington‘s cityscape is facing mounting resistance, threatening a slate of transformative monuments intended to cement his legacy in the nation’s capital.
Eager to see his projects completed before leaving office, Trump has responded to growing legal and political obstacles by pushing ahead, attempting to force approvals through faster than opponents can challenge them. But the scramble to fast-track construction has inflated their costs for taxpayers, imperiling his plans and amplifying his political risks as the midterm elections approach.
Urban design has become a preoccupation for Trump since the start of his second term. Cranes dot the skyline of the city, and construction fences block access to many of its most cherished parks and venues less than a month before the nation celebrates 250 years since its founding on July 4.
Cranes from the White House East Wing ballroom construction project rise from behind the U.S. Treasury Department building on Thursday in Washington, D.C.
(Kevin Carter/Getty Images)
Government lawyers are defending the president’s use of the wrecking ball, arguing in court that he has unfettered power to build and destroy. Should he ever choose to tear down the Statue of Liberty, the Justice Department told a judge Friday, no one could stop him.
Yet a recent series of legal setbacks, as well as increasing Republican opposition on Capitol Hill, have cast doubt on the fate of his most lavish designs, including the construction of an imposing ballroom at the White House and the erection of a massive triumphal arch on the sightline of the National Mall.
It’s become a race against time for the president, who could soon confront a Democratic-controlled Congress armed with renewed oversight authority and subpoena power, further gumming the works of elaborate construction projects, which could stymie their completion before he leaves office.
“This is very much on the committee’s radar,” said one Democratic source with the House Oversight Committee, citing “serious concerns surrounding corruption.”
Visitors at the Mall gather in front of the Lincoln Memorial and near the Reflecting Pool, which is under renovation on Friday in Washington, D.C. President Trump dismissed criticism of the recent Lincoln Memorial Reflecting Pool renovations, rejecting claims the project amounted to merely a “paint job.”
(Roberto Schmidt / Getty Images)
Trump as ‘builder-in-chief’
Several of Trump’s more modest initiatives, referred to by the administration as beautification projects, are complete or well underway.
At the White House, a historic rose garden conceived by Jacqueline Kennedy was paved over, and its adjoining colonnade refurbished with black granite and gilded presidential portraits. The Palm Room foyer was decked in marble and chandeliers. New flagpoles fly supersized American flags on the North and South lawns.
The en suite bath of the Lincoln Bedroom in the residence has been gutted and renovated. And the Oval Office now practically drips in gold, while an adjoining study, once used by Franklin Roosevelt to scrutinize war maps and Lyndon Johnson to monitor the space race, was converted into the president’s personal swag shop.
A temporary Ultimate Fighting Championship arena constructed on the White House South Lawn is another example of how Trump is leaving a visual mark on the presidential residence. The structure, which towers over the White House, was paid for by the UFC, which is scheduled to host a series of fights on the premises.
Outside the White House complex, fountains across the city are coming back to life after decades of neglect, from DuPont Circle to Freedom Plaza and Union Station. The idyllic Logan Circle, surrounded by historic mansions, is being revitalized by the National Park Service, as is Lafayette Square, the site of an infamous clash between Trump and protesters shortly after George Floyd’s murder in 2020.
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1.National Park Service Conservator for the National Mall and Memorial Parks Ali Cavicchio puts a clear coat over the recently repainted “I Have a Dream” marker at the Lincoln Memorial on June 05, 2026 in Washington, DC. The marker’s letters are carved into stairs of the Lincoln Memorial where Dr. Martin Luther King Jr. stood and delivered his “I Have A Dream” speech in 1963.(Chip Somodevilla / Getty Images)2.Members of the West Branch Area School District in Morrisdale, Pennsylvania, student marching band perform at the Lincoln Memorial on the National Mall on June 05, 2026 in Washington, DC.(Chip Somodevilla / Getty Images)
In some parks, even the turf is getting a makeover.
“People are all thanking me because Washington is beautiful again,” Trump told reporters last week. “The parks are open, we changed the grass. You know, grass has a life, also. Like people, grass has a life, and that grass hasn’t changed in 70 or 80 years.”
On Friday morning, several people sat by the restored cascading fountain at Meridian Hill Park. They walked their dogs, read books and exercised by the water.
Jean Luc, 33, was one of them. As he took a stroll with his 2-month-old daughter, Juno, he said it had been nice to see the government fix up the park, which he says he tries to enjoy with his daughter daily.
“It’s been nice to see the whole process,” he said. “I love it.”
President Trump displays a chart titled “Our Pool is Bigger than Skyscrapers” while discussing his renovations to the Lincoln Memorial Reflecting Pool on Wednesday in the Oval Office.
(Kevin Dietsch / Getty Images)
The Lincoln Memorial Reflecting Pool has been painted over in “American Flag Blue” by a firm that Trump said had worked on the swimming pool at his golf club in Virginia. Millions will be spent to regild the hulking Art Deco statues that buttress Arlington Memorial Bridge. And Trump has plans to connect the Lincoln Memorial to the Potomac River by building a promenade, one of many projects he has said may be named after himself.
Federal contracting data show that the Virginia firm Terra Site Constructors has been awarded roughly $60 million in contracts from the National Park Service to complete work on the various fountain rehabilitation projects across the city.
Another Virginia firm, Atlantic Industrial Coatings, holds a contract for $14.2 million to paint the reflecting pool.
The funding for both contracts comes from the entrance fees paid by national park visitors.
“How fortunate are we to have the builder in chief?” Interior Secretary Doug Burgum said Thursday in the Oval Office. “Someone who both has the vision and the understanding of how to get projects done that would make our city safe and beautiful.”
Construction continues on the White House East Wing ballroom on May 29, 2026.
(Kevin Carter / Getty Images)
‘The finest ballroom anywhere in the world’
Yet other, more controversial projects, exacting irreversible change to capital institutions, are facing greater opposition.
On Thursday, the Kennedy Center for the Performing Arts directed its staff to begin removing Trump’s name from its facade after a judge ruled that the attempted name change, and his effort to close the venue for two years of dramatic renovations, were illegal.
Angered by the court’s decision, Trump directed the Commerce Department to make arrangements to transfer control of the Kennedy Center to Congress. The move would give lawmakers power over the center’s operations, maintenance and management. It was originally an act of Congress that gave the Kennedy Center its name and mandate.
In other areas of the city, preservationists have successfully delayed the president’s bid to paint over the natural gray granite of the Eisenhower Executive Office Building. And Republican lawmakers have refused to vote to fund the construction of a ballroom at the White House that has already laid waste to the East Wing and, if completed, would dwarf the landmark residence.
Construction crews began tearing down the East Wing in October to make way for the 90,000-square-foot facility. Trump, who built a career as a real estate developer, has frequently touted the project, gushing over the sounds of jackhammers and excavation trucks.
Construction continues on the White House South Lawn on June 1, 2026, for an upcoming UFC match. President Trump is hosting a UFC match on the White House grounds to mark the nation’s 250th birthday.
(Kevin Carter / Getty Images)
“Oh, that’s music to my ears. I love that sound,” Trump told Republican senators at a White House event last fall. “A lot of people don’t like it. When I hear that sound, it reminds me of money.”
The ballroom project was initially expected to cost $200 million, a price that has since doubled. It is being financed by private donors and Trump, who has called it a “gift to the United States.”
“We are building what will be the finest ballroom anywhere in the world,” the president said last month.
More than half of the publicly identified donors of the ballroom projects — 14 of the 27 known corporate contributors — have won new or bigger federal contracts worth more than $50 billion in the six months since construction began, according to a report released by Public Citizen, a watchdog group.
“These giant corporations aren’t funding the Trump ballroom fiasco out of the goodness of their hearts,” said Jon Golinger, a public policy advocate at Public Citizen and author of the report. “They have massive interests before the federal government and they hope to curry favor with, and receive favorable treatment, from the Trump administration.”
White House military aides stand next to the giant mirror that hangs along the Rose Garden Colonnade at the White House on May 21, 2026.
(Chip Somodevilla / Getty Images)
The White House has challenged the report’s assertions, saying critics of how the project is being funded are “only people who suffer from a severe and incurable disease known as Trump Derangement Syndrome.”
“President Trump is making the White House beautiful and giving it the glory it deserves at no cost to taxpayers — something everyone should celebrate,” White House spokesman Davis Ingle said in a statement.
The report came out as the ballroom project has faced persistent hurdles in court and Congress.
The National Trust for Historic Preservation sued to stop construction, arguing the administration had not followed the legally required review process and had not secured congressional approval. In March, a federal judge halted aboveground construction, but an appeals court quickly allowed work to resume through June while the case proceeds.
On Friday, the panel heard the case and expressed skepticism about Trump’s push to build the ballroom without congressional approval.
On Capitol Hill, Senate Republicans dropped a proposal to set aside $1 billion in security funding for the ballroom after several GOP senators said it lacked the votes to pass.
Trump has insisted the funding is not necessary to complete the project, though he said it would help secure the complex. Without it, he told reporters last month, “the White House won’t be a very secure place.”
(Los Angeles Times photo illustration; Photo by Kevin Dietsch / Getty Images)
Arc de Trump
The president is also seeking to build a 250-foot-tall “triumphal arch” near Arlington National Cemetery, across the Potomac River at the foot of Memorial Bridge.
Renderings show the arch would be twice the height of the Lincoln Memorial, crowned by a golden statue of Lady Liberty sporting outstretched wings. An observation deck on its roof would offer sweeping views of the city.
Preservationists have criticized the plan as disrupting a sacred sightline between the memorials to Abraham Lincoln and Robert E. Lee, designed as a statement of unity after the Civil War. Even advocates of adding an arch in Washington have criticized the size of Trump’s proposed structure as overbearing. And a group of Vietnam War veterans has sued to try to stop its construction, arguing the project lacks congressional approval and would “dishonor their military and foreign service” because it would block the view of the cemetery.
Commission of Fine Arts member Pamela Hughes Patenaude, left, hands colleague Matthew Taylor a model of President Trump’s proposed triumphal arch to commemorate the country’s 250th anniversary during the commission’s public meeting at the National Building Museum in Washington on April 16, 2026.
(Andrew Harnik / Getty Images)
Despite public opposition, the National Capital Planning Commission last week advanced the project in its review process.
Trump praised the planning commission’s support, saying that “when completed, it will be, without question, the Greatest Arch of them all!”
The president has yet more plans to leave his mark — in some cases with his name, in others with his face.
Transportation Secretary Sean Duffy has proposed a $22-billion overhaul of Dulles International Airport outside the capital that would include a new terminal brandishing Trump’s name. Limited-edition U.S. passports will feature his portrait. And the Treasury has plans to mint a $250 bill featuring Trump’s mugshot from his 2023 Fulton County arrest, pending congressional approval — an unlikely prospect.
A walkway with the numbers “45” and “47” leading to construction on the new ballroom extension of the White House in Washington, D.C., on May 19. President Trump said a military hospital and research facilities will be built on the site of his planned White House ballroom, offering more details about the scope of the sprawling, controversial project.
(Samuel Corum/Bloomberg via Getty Images)
In a moment that went viral on social media, Sen. Jon Ossoff (D-Ga.), who is generating buzz over a potential run for the Democratic presidential nomination in 2028, offered a theory on what’s driving the president.
“He’s trying to put his face on the money. He’s building a monument to himself,” Ossoff told a crowd of supporters.
“But see, Atlanta, he’s doing these things now because no one will honor him when he’s gone,” he added, “because he’s a failed president and a national disgrace.”
Wilner reported from Los Angeles and Ceballos from Washington. Times staff writer Ben Wieder contributed to this report.
