Winston Irie and the Selective Security Band will bring reggae to the Southampton Arts Center with a free show on the west lawn on Saturday at 7 p.m. 

Growing up in Guyana, Mr. Irie was inspired by artists such as Otis Redding, Sam Cooke, Gladys Knight, Jimmy Cliff, Toots and the Maytals, and Bob Marley. He first came to the Hamptons in 1993 and has performed with Lenny Kravitz, Martha Reeves, A Tribe Called Quest, and Richie Havens, among others.

Jazz on the Steps, another outdoor music series, will launch on the center’s front steps on Sunday afternoon at 2 with a free performance by Santi Debriano on bass and Bill O’Connell on piano. The programs are designed to showcase the diversity of jazz for people of all ages.

The LongHouse Reserve in East Hampton will unveil sculptures by Helmut Lang, Alyson Shotz, and Dustin Yellin on Saturday. New artwork by Gustavo Bonevardi, Orly Genger, and Judith Shea was installed in May, and pieces by Toshiko Takaezu, Atsuya Tominga, and Johnny Swing will be moved throughout the property to provide fresh perspectives on the work and the garden.

Mr. Lang’s process-oriented sculpture is created from repurposed materials that evoke the human body while remaining abstract. The work at LongHouse, “twenty-two,” evokes the spinal column and segmented body of the earthworm, but it has been fashioned on the scale of the human body. 

Ms. Shotz is interested in making objects that change depending on the light, the weather, and the seasons. “Crushed Cubes,” which has been installed at LongHouse on the island of weeping cherry trees, was made from welded steel that was crushed in a scrap yard. 

Mr. Yellin is known for his large sculptural paintings that use multiple layers of glass, each covered in detailed imagery, to create a single intricate, three-dimensional collage. In a departure from his glass mosaics, he will exhibit two rockets, which will be installed along the axis of David’s Walk. 

Also on Saturday, LongHouse will open “Planters: On and Off the Ground,” for which artists, landscape designers, and gardeners make creative and unusual combinations of plants and vessels within a specific footprint. This year’s theme is “Freedom in 25 Square Feet.”

The opening reception will take place from 4:30 to 7 p.m. Edmund Hollander, a landscape architect, will present the awards at 6, and the opening day audience will cast votes for the People’s Choice Award. Tickets are $20, $10 for members. The exhibition will remain on view through July 21.

The East Hampton Library will celebrate the lives of Judith Leiber, the renowned handbag designer, and her husband, Gerson Leiber, the noted abstract painter, on Saturday afternoon at 1. Ms. Leiber, 97, and Mr. Leiber, 96, died a few hours apart at their house in Springs on April 28. 

Jeffrey Sussman, the author of “No Mere Bagatelles,” a biography of the couple, will talk about their lives, and Ann Stewart, the curator of the Leiber Collection, will discuss their art. Photographs and video clips will accompany the talks.

A weeklong smorgasbord of comedy, animation, and live performance is on offer at Guild Hall starting on Saturday at 8 with an evening with Hasan Minhaj. A comedian, actor, and writer, Mr. Minhaj is the longest-running current correspondent on “The Daily Show,” having been hired by Jon Stewart in 2014. 

He will become the first Indian American to front a weekly comedy program when his own show premieres in October on Netflix, where “Homecoming King,” his stand-up special, is now streaming. Tickets are $45 to $85, $43 to $80 for members.

Miwa Matreyek, an animator, director, designer, and performer based in Los Angeles, will give two live performances, “This World Made Itself” and “Myth and Infrastructure,” on Sunday afternoon at 3. Ms. Matreyek interacts onstage with her animations as a shadow silhouette, creating a dreamlike visual space where poetic narratives of conflict between man and nature unfold. Tickets are $22 to $55, $20 to $53 for members.

Speaking of space, the Montauk Observatory and Guild Hall will present “Space Exploration,” a free talk by Randolph Bresnik, a NASA astronaut and former commander of the International Space Station, and Rebecca Bresnik, lead attorney for the space station, on Wednesday at 8 p.m. Colonel Bresnik will share his experience living and working in space, while Ms. Bresnik will discuss the challenges of coordinating a celestial collaboration among 22 member countries.

While it is not a Guild Hall-produced program, “Andromeda’s Sisters,” a three-part event from the Neo-Political Cowgirls, will take place there next Thursday. Intended to articulate women’s issues, voices, and interests, it will begin at 5 with a panel discussion featuring representatives from OLA of Eastern Long Island, the International Rescue Committee, and Ellen’s Run, among others.

A garden party with food, drinks, and music by Job Potter and Steven Tekulsky will take place at 6:30, followed at 8 by five one-act plays with Aida Turturro, Cathy Curtin, and Ellen Dolan. Tickets are $35 for the panel and party, $75 for the party and performances, and $90 for all three.

The Parrish Art Museum in Water Mill will kick off its outdoor music series, Jazz on the Terrace, with a performance by the acclaimed jazz drummer Eliot Zigmund Friday at 6 p.m. He will be accompanied by Matt Garrison on saxophone, Allen Farnham on piano, and Peter Brendel on bass.

Mr. Zigmund has performed and recorded extensively with such jazz luminaries as Bill Evans, Michel Petrucciani, Jim Hall, Lee Konitz, Benny Golson, Eddie Henderson, Stan Getz, Eddie Gomez, Steve Swallow, Art Lande, and Mel Martin.

Tickets are $12, free for members and students. The museum has suggested that guests take their own chairs and blankets.

During a midterm election year dominated by a mercurial president careering between forging and breaking international agreements and relationships, it is fitting that the summer productions at Bay Street Theater in Sag Harbor are focused on political issues, among them the Cold War and the Red Scare, presidential overreach, and the conflation of populism and demagoguery.

In “Frost/Nixon,” which will begin previews Tuesday and open on June 30, the playwright Peter Morgan, who has engaged politics and history in the film “The Queen” and the Netflix series “The Crown,” focuses on David Frost’s televised interviews with Richard Nixon that were broadcast three years after Nixon’s 1974 resignation in the wake of the Watergate scandal.

“When I saw this show on Broadway 11 years ago, I just loved it,” said Scott Schwartz, Bay Street’s artistic director. “While it’s kind of a wonderful boxing match of a play between Frost and Nixon, it’s also about how television and politics relate and a bit of a critique of the media and of how television necessarily oversimplifies everything.” 

After two years away from public life, Nixon granted Frost an exclusive series of interviews in part at the suggestion of his publicist, the legendary Irving (Swifty) Lazar, that by using television he could reach a wide audience and perhaps rehabilitate his reputation. Frost, whose talk show had recently been canceled, was at the time accused of checkbook journalism, as Nixon received $600,000 and a share of profits for the production.

When it premiered in 2007, “Frost/Nixon” was a Tony Award, Drama Desk, and Outer Critics Circle nominee for best play. As Ben Brantley, the New York Times drama critic, wrote, “Television mows down a titan in ‘Frost/Nixon,’ the briskly entertaining new play by Peter Morgan. . . .”

The Bay Street production stars two esteemed actors familiar to East End audiences, Harris Yulin as Nixon and Daniel Gerroll as Frost. Sarna Lapine, whose recent productions include the Broadway revival of “Sunday in the Park With George,” directs.

“At its core, the play is about digging deep into these two guys and what makes them tick,” Mr. Schwartz said. “What’s so wonderful about this show is that it doesn’t take sides. It really tries to honor and explore both of these very flawed but passionate and committed men. It’s very cynical and quite funny.”

“It will be a high-tech production. We will be using a lot of video in the show, and there will be live camerawork and screens all over the set.” While the play centers on its two protagonists, as a 10-actor production it is one of the largest, in terms of the scale of the cast, undertaken by Bay Street during Mr. Schwartz’s five-year tenure. 

In addition to Lazar, among the other historical figures are the journalist Mike Wallace (both played by Stephen Lee Anderson), the historian James Reston Jr. (Christian Conn), and the tennis star Evonne Goolagong (Cecillia Koueth).

Performances will take place Tuesdays, Wednesdays, and Sundays at 7 p.m., and Thursdays, Fridays, and Saturdays at 8 p.m. through July 22, with matinees on July 8 and 15 at 2. The June 30 opening is sold out. Talkback Tuesdays with cast members will follow the performances on July 3, 10, and 17.

Tickets are $40 to $135. A limited number of pay-what-you-can tickets will be available at the box office beginning at 11 a.m. on Wednesday for that day’s 7 p.m. performance. Information about other special deals, including free student tickets, can be found on the theater’s website.

Those shut out of next week’s sold-out Hamptons International Film Festival SummerDoc “Robin Williams: Come Inside My Mind” at Guild Hall will find solace in the upcoming release of the film on HBO on July 16.

Viewed either way, audiences will be treated to an intimate and relevant portrait of the comedian and actor that eschews straight filmography and tragedy mongering in favor of insight and illumination on the life of a complicated, intelligent, talented, and endearing man from those who knew him best.

The film is in the capable hands of Marina Zenovich, whose previous subjects have included Richard Pryor and Roman Polanski. “I do have a fascination — my husband says it’s a compulsion — to make films about complicated men, to unpack someone’s life,” she said last week. 

Confronted with years of film and television work and public interviews, she said “with someone like Robin Williams, I wanted him to tell his own story as much as possible.” Even by restricting her team’s research to things not widely accessible to the public, such as the full tapes of interviews done for Playboy magazine in 1992 and audio from National Public Radio, there was plenty of archival material to mine for the film. 

“We were looking for the times he was more vulnerable.” With a subject who had an irrepressible urge to cavort, she said they often isolated the audio portions from the video available, because the audio often revealed more depth than was apparent — or perhaps a depth that was obscured — in his rapid-fire and clownish delivery.

“It’s surprising how much is online. To show things that haven’t been shown before is getting harder and harder for documentaries,” Ms. Zenovich said. They were lucky to find some childhood footage of him acting and then work he did as a student at Juilliard. 

Then there were multiple interviews with family, close friends, and colleagues to help give the pieces context. “You’re in a hard spot. You’re trying to show someone and how they were before, but you’re not the expert, you’re asking people who were there. It’s important to get them to trust you to open up and that you will not use their vulnerability in the wrong way.”

Billy Crystal, Eric Idle, Pam Dawber, and Whoopi Goldberg are among his celebrity friends interviewed. Family members provide further memories of who he was off camera. “Everyone wanted to show up for Robin. They miss him so much. They miss his take on the world. . . . He spoke so well to the nuances of politics and was so well read. He knew so much about the world,” Ms. Zenovich said. “One thing I learned from this process is how smart he was.”

Her goal was to make a documentary that was a celebration of his life. Those who view the film through the prism of the recent suicides of Anthony Bourdain and Kate Spade (who was said to have studied Williams’s example) could be disappointed with the lack of time the film spends on his death.

“When you’re making a film, in the end you have these found objects. When you rub them together, you only get what you can get from them,” she said. “It’s up to you and your team through your understanding of who that person is, what they went through, and how they lived up to that” to bring all of it together for the film. While the suicide was not the focus, “it was the elephant in the room,” the inevitable conclusion, she said. “We didn’t really want to make a film about that. In a different outlet, it would be the first question asked, but that was not what this film was about.”

Speaking publicly for the first time since both the film’s trailer was released and the two high-profile suicides earlier this month, Ms. Zenovich said the overwhelming response the trailer had received helped her realize how much people loved Williams, but she was still processing the sadness of the news of Bordain’s and Spade’s suicides. “I am glad the film is helping people talk about it.”

When Melania Trump recently wore the world’s most inappropriate jacket on her trip to a child detention center (“I don’t really care, do u?” it read), jacket-gate erupted in a firestorm of speculation, denunciation, and defense as the world tried feverishly to decipher the first lady’s fashion message.

The power of fashion in politics is nothing new to Nicole Miller, the American fashion designer who has been in business since 1982, and whose pop-up shop featuring her Designs for Democracy collection is currently open at the Bridgehampton Museum. 

The clothes, in a variety of subtly patriotic colors and prints, are part of an ongoing exhibition by the Museum of Democracy, a roving archive of perhaps the world’s largest collection of presidential memorabilia, from George Washington to the present day. Amassed over four decades by the late Jordan M. Wright, a lawyer and magazine publisher who began collecting Robert F. Kennedy buttons in 1968 as a 10-year-old, the collection grew, as did his fascination. 

Only a fraction of its million-plus objects are on display until Labor Day in “Boats, Barns, and Bootlegging” at the William H. Corwith House, the home of the Bridgehampton Museum on Main Street. The exhibition chronicles Long Island’s colorful stories of bootleggers, rumrunning vessels, and speakeasies during Prohibition from 1920 to 1933.

Ms. Miller’s shop is set up in one of the parlor rooms at the front of the circa 1825 house, and is festooned with banners of stars and stripes. Her clothes, which include a few pieces exclusively designed for the exhibition, offer something for everyone: flirty and flowing cocktail dresses, lacy zip-up jackets, ruffled blouses, pared-down essentials, sunglasses, and one-piece swimsuits with her signature pleating, which, she said, “everyone loves because it hides just about anything.”

During the 1980s and ’90s, Ms. Miller was known for her daring prints, especially those on her collection of men’s neckties, which became wacky conversation pieces featuring before-and-after sketches of plastic-surgery procedures, Elvis, slot machines, African masks, and wild animals. 

While her sense of fun and daring is still evident in her colorfully printed dresses and beach cover-ups available at the museum shop, her boldest statement on sale in Bridgehampton is undoubtedly two hand-painted paper dresses resembling the infamous wearable paper mini-dresses from the 1968 presidential election, featuring Robert F. Kennedy’s face on one and a red stenciled “Nixon” on the other.

Ms. Miller’s political paper dresses are made from Tyvek, a synthetic material spun out of polyethylene fibers and generally used to protect buildings during construction. The designs are bold brushstrokes of stars and stripes; one has a chain-link design painted across the hemline, with the words “freed” and “united” on the dress. 

Unlike the first lady’s cryptic message on her jacket, Ms. Miller’s stand on justice and egalitarianism is evidently clear. Fashion has always been an agent of change, but now, in this designer’s hands, these changes seem benevolent. One of the two Tyvek dresses sold on Saturday for approximately $1,500. Proceeds will benefit the Bridgehampton Museum and the Museum of Democracy.

The rest of the ground floor of the museum contains paraphernalia from the Museum of Democracy’s world-class political archive and from the archive of the Bridgehampton Museum. As such, “Boats, Barns, and Bootlegging” is a must-see, dense, and deeply fascinating display that tells the story of Long Island during America’s “dry” years, when it was illegal to produce, transport, or sell alcoholic beverages in the country. But the coves and crannies of Long Island’s shores and its proximity to New York City made it a hotbed of illicit importing from Canada, the Caribbean, and Europe.

There is wonderful material here, including buttons, flags, posters, clothing, an Art Deco-era liquor cabinet, and photographs. The items are jointly from the Wright family collection and the Bridgehampton Museum’s archives.

A strangely draconian poster shows the nine steps of “The Drunkards Progress: From the First Glass to the Grave,” a half-circle of male figures beginning with step one, “A glass with a friend,” and ending in step nine, “Death by suicide.” Under the semicircle is an image of a weeping woman walking with a child. It was all part of the temperance movement, an organized effort to encourage abstinence from alcohol.

Reproductions of The Star from this time period are also on display. One such issue, from Jan. 2, 1931, tells of East Hampton and Amagansett speakeasies being raided and contains the headline “Solid Shot Stops Fleeing Rum Boat,” under which is a story of a British boat captured in Montauk carrying 2,800 burlap sacks of bottled whiskey and champagne.

There are delightfully humorous reminders of the jubilation that followed Prohibition’s repeal in 1933. In a photograph, a billboard sits atop a car — “Happy Days Are Beer Again” it reads. Another, a small fabric swatch, pleads, “More Beer, Less Taxes.” 

This is the second year that the Bridgehampton Museum has teamed up with the Museum of Democracy for a show, and the first time Ms. Miller has opened a shop as part of an exhibition. 

Pamela Wright co-founded the Museum of Democracy in 2006 with her husband, and now runs the nonprofit organization along with her son and daughter, after her husband died unexpectedly in 2008. Busy setting up the display with Julie Greene, the Bridgehampton Museum’s curator and archivist, before the show’s opening earlier this month, she seemed thrilled to continue her late husband’s mission of chronicling the twists and turns of America’s history through this living, breathing history of the democratic tradition. 

The exhibit takes on particular relevance during these times when events in this country and around the world appear to have tested the limits of people’s faith in democracy.

Across the East End, organizations of all kinds are struggling to attract young people to join. In 2013, amid concern that its board of trustees was going gray, the LongHouse Reserve in East Hampton assembled a junior council of artists and curators that — now in its fifth year — is helping to inject new life into the institution. 

Founded by the textile designer and art collector Jack Lenor Larsen, LongHouse has long been a cultural center for modern art on the East End. The property, made up of 16 acres of sculpture gardens and a large home fashioned after a Japanese Shinto temple, is home to permanent works by Willem de Kooning, Sol LeWitt, and Yoko Ono, among others. 

Mr. Larsen, who is approaching 91, is still involved in curation at LongHouse, but the current president of the board, Dianne Benson, is looking toward the future. “It is time to welcome a new generation,” she said. “The board is getting older and we are going to need them to carry on our work.” 

In assembling a core team for the Junior Council, Ms. Benson drew upon a rich local network. Several council members are second-generation LongHouse supporters, including Max Levine, Sarah Duke, and Taylor Van Deusen, whose parents serve on the board. Others were connected through other means. Scott Bluedorn, for example, a 35-year-old artist and illustrator, worked at LongHouse before joining the council. 

“LongHouse is a small and intimate organization, so mostly everyone knows one another,” said Mariah Whitmore, the current council chairwoman. Still, the Junior Council operates independently of the board, which allows it total creative freedom.

The council has influence on programming, working with the arts, education, and landscape committees to assist on special events like the summer gala. Its members are also in charge of organizing the annual “Salon on the Lawn” exhibition. This year, the show, which opened on Memorial Day weekend, was curated by Tripoli Patterson, who is 33, and featured work by Aakash Nihalani, 32, and Quentin Curry, 46. It drew a large crowd of millennials to roam the lush grounds and appreciate the large-scale outdoor work. 

Though the show was once held on Labor Day weekend, this year the council decided to move it earlier in the season to better capitalize on the momentum raised by the party. “We want to get the word out that there is a lot going on at LongHouse,” Ms. Whitmore said. “People don’t know this, but there are things happening here every weekend. We have a ton of regular programming, including Saturday morning meditations, garden classes, and family days.”

Ms. Benson said that she has definitely noticed a shift since the council was formed. “Yes, there is certainly more energy now. Every year at the benefit we have a few tables” for a younger art crowd. “This year, they made up a significant portion of our group, and it keeps growing.”

In July, a LongHouse Celebrates Brooklyn gala will honor the work of Dustin Yellin, 42, an artist and founder of Pioneer Works, a not-for-profit cultural center in Red Hook, Brooklyn. The event is part of a larger initiative to align LongHouse with other young, vital organizations that could be potential partners and help to increase its membership.

Long term, Ms. Benson hopes that members of the Junior Council will stay invested in LongHouse and help contribute more broadly to East Hampton. An architect here, Nick Martin, 50, recently “graduated” from the council to the board of trustees, of which he is now the youngest member. If others follow the same path, moving up to fill leadership roles, they could help to ensure a bright and sustainable future for the organization.

“We are lucky to have such a wonderful group,” Ms. Benson said. “Their ideas are ambitious and raise the bar for all of us. We are very proud of what they’ve been able to accomplish.”

Carolyn Enger, a classical pianist, will perform a free concert on Sunday at 2:30 p.m. at the Montauk Library. Her program will include works by the 19th-century composers Fanny Mendelssohn, Clara Schumann, Franz Schubert, and the contemporary composers Caroline Shaw, Pia Moller Johansen, and Judith Shatin.

An active recitalist with engagements throughout the United States and beyond, Ms. Enger has performed at the Weill Recital Hall at Carnegie Hall, Lincoln Center’s Bruno Walter Auditorium, the National Gallery of Art, and the Cathedral of St. John the Divine, among others.