in shaping the history of the city; The Dictionary of Texas Artists documented some of her awards in juried exhibitions; and she was listed in Artists USA, Artists International, the International Directory of the Arts, the Dictionary of International Biography, and in numerous editions of Who's Who in American Art. Margaret Dreyer was one of Houston's earliest and most accomplished watercolorists — often working in the difficult medium of wet watercolor — in a style that was once compared to that of John Marin. She became one of the city's first major abstract expressionists, working in acrylics and oils, with her work showing the influence of African and Latin American cultures. Art writer Susie Kalil, in a history of the Houston art scene, pointed to the "lush, tropical paintings of Margaret Webb Dreyer" as an important influence. In a special feature on Maggie, the editors of Houston Scene wrote: "Most of her compositions give a cheerful feeling, as if she looks at the world through a prism of flashing lights. In many works, blotches of color are applied in mosaic-like patterns worked into the chiaroscuro." Candice Hughes wrote, "She did figurative abstractions bursting with life and used the techniques of impasto and glazing with a skillful hand." Kendall Curlee wrote in The Handbook of Texas Online, "Throughout her career Margaret Dreyer experimented with such styles as Cubism, Surrealism, and Abstract Expressionism; her work was characterized by bold strokes and rich colors and textures. Her best-known series include "Blueprint for Survival," a group of abstract works representing the artist's feelings about the Vietnam War, and "Maggie's Songs," a series of large, nonobjective stained paintings on raw canvas that she completed shortly before her death." The paintings in her last series, "Maggie's Songs," were created while she was dying of cancer. Exhibited posthumously at the Contemporary Arts Museum of Houston, they were large acrylic stain pieces on unbleached, unsized linen. About these works, the Houston Chronicle's Ann Holmes wrote: "Maggie's last songs were lyrical, jeweled, many-dimensional, complex, allusive... The rounded organic shapes and the surface strokes may be Kandinsky-reminiscent; the organization of the vertical rectangles into two or three pane sections may go back to Rothko. But the textures and the colors — fuchsias, confetti greens, orange and yellow of these separate works are perfectly, clearly, Margaret Webb Dreyer getting it all together with her very own kind of inquiry and sophistication."