A drip work created in 1949 by Jackson Pollock will be featured in the May 16 evening sale of contemporary art at Sotheby’s in New York. According to Sotheby’s, “Number 32” is one of 16 drip paintings the artist painted in 1949 and only one of eight in which he used aluminum paint along with his more typical enamel and oil paint. It is somewhat small by his standards, with a height of 31 inches and a width of just over 22 inches.

Originally shown at Betty Parsons, the painting passed through a few European galleries and collections before returning to the United States and eventually New York. The work has been in the same collection, undisclosed by the auction house, since 1983. It has an estimate of $30 million to $40 million. The work is painted on paper mounted on Masonite, making it technically a drawing, which may account for the lower than usual price compared with his drip canvases. After viewings in Hong Kong, London, and Los Angeles, it will be shown in the Sotheby’s New York showrooms beginning tomorrow.

The Salon Series of classical music concerts at the Parrish Art Museum in Water Mill will launch its sixth season with a performance by the Dorian Wind Quintet on Friday at 6 p.m. The group consists of Gretchen Pusch on flute, Gerard Reuter on oboe, Benjamin Fingland on clarinet, Adrian Morejon on bassoon, and Karl Kramer-Johnson on French horn. Tomorrow’s program will include two compositions by Bach, Elliott Carter’s 1948 Woodwind Quintet, and works by two contemporary composers, Lalo Schifrin and Amanda Harberg.

Subsequent programs will feature Drew Petersen (May 4) and Inna Faliks (May 11) on piano, and the New Docta Ensemble (May 18). Tickets are $25, $10 for members, and include post-concert receptions with the performers.

Performances of “The Vagina Monologues,” Eve Ensler’s Obie Award-winning play, will take place on Saturday at 2 and 7 p.m. at the Southampton Arts Center.

The production is directed by Jenna Mate, produced by Valerie diLorenzo and Amy Kirwin, and stars Elaine Bernstein, Molly Brennan, Kathleen Carthy, Ms. diLorenzo, Carolann DiPirro, Leslie Duroseau, Rebecca Edana, Bridget Fleming, Shannon Gilson Dupuis, Ms. Kirwin, Amayrani Martinez, Kate Mueth, Cindy Pease Roe, Minerva Perez, and Susan Stout. The Man Prayer, with Matthew Conlon and Ed Brennan, is also on the program.

Tickets are $15, $12 for senior citizens, and $10 for students. Proceeds will benefit the Retreat.

The Montauk Library will host “Jazz Times Three,” a free concert by Gil Gutierrez, a jazz guitar virtuoso, with Bob Stern, a jazz violinist, and Peter Martin Weiss on bass, on Wednesday at 7:30 p.m.

Mr. Gutierrez, who lives in San Miguel de Allende, Mexico, is fluent in a variety of musical genres, among them jazz, flamenco, and son cubano. He has performed throughout North and South America and Europe, and he and the trumpeter Doc Severinsen have appeared with symphony orchestras across the United States and abroad.

Most Holy Trinity Catholic Church in East Hampton will be the site of a community organ recital featuring six organists and two singers on Sunday afternoon at 3. Thomas White, Walter Klauss, Dan Koontz, Peter Ludlow, Janet Fensterer, and Thomas Bohlert will show off the musicality and colors of the church’s organ, while Christine Cadarette and Douglas Sabo will provide the vocals.

The free program includes several pieces by Bach, a pair of French romantic pieces, and choral preludes composed by Mr. Koontz. Ms. Cadarette will sing “Ave Maria” by Giulio Caccini, and Mr. Sabo will perform “The Lost Chord” by Arthur Sullivan.

Our Fabulous Variety Show, a troupe of performers based in Southampton whose productions range from cabaret to comic twists on classic stories, will perform “Tap: An Evening of Rhythm” in five programs at Guild Hall, beginning on Saturday at 8 p.m.

The production will feature Aaron Tolson and Anita Boyer, professional tap dancers, and Speaking in Taps, Mr. Tolson’s tap company, as well as the dancehampton Tap Army and the OFVS dancers. The show will feature classic numbers, modern rhythm, jazz funk, and Broadway standards.

“Tap” will also be onstage on Friday, May 4, at 7 p.m., May 5 at 2 and 7 p.m., and May 6 at 2. Tickets range from $20 to $55 and can be purchased on the dance company’s website. In addition, OFVS will present a program of vaudeville cabaret on May 6 at 6 p.m. Tickets are $15 to $35.

Alliance at Ashawagh

The Artists Alliance of East Hampton will hold its spring members’ show at Ashawagh Hall in Springs from Saturday through May 6, with an opening reception set for Saturday from 5 to 8 p.m. Painting, sculpture, drawings, glass art, and mixed-media work by 50 artists will be on view daily from 11 a.m. to 5 p.m. Ten percent of sales will be donated to the Springs Food Pantry.

A plein-air painting event will take place starting at 11 a.m. on Wednesday.

Springs Flowers in Sag

The Romany Kramoris Gallery in Sag Harbor will have its seventh annual Spring Flower Show from today through May 24. A reception will take place on Saturday from 5 to 6:30 p.m. The exhibition will feature styles ranging from realism to impressionism.

Participating artists are Ghilia Lipman-Wulf, Eleanor Kupencow, Thomas Condon, Pingree Louchheim, Joyce Brian, Veronica Mezzina, Bob Rothstein, Adriana Barone, Sue and Al Daniels, and Muriel Hanson Falborn.

Nick Weber in Manhattan

“Night Turns,” an exhibition of paintings by Nick Weber of Amagansett, is on view at Harper’s Apartment, the New York City outpost of Harper’s Books of East Hampton, through Saturday. The show includes night landscapes, which a press release describes as “juggernauts of shade, reflection, and shared memory,” as well as nudes, portraits, and porn “rendered with detailed finesse.”

At 51 East 74th Street, Harper’s Apartment will be open today through Saturday from noon to 6 p.m.

Women Artists Speak

“Women Artists: Reshaping the Conversation,” a series of panel discussions organized by Toni Ross last summer at the LongHouse Reserve, was so popular that it will return this spring with three sessions at Nick and Toni’s restaurant in East Hampton beginning on Sunday morning at 11, when the speakers will be Ellen Phelan and Agathe Snow, artists, and Amei Wallach, an art critic and filmmaker.

Subsequent programs will take place at the restaurant on May 20 and June 3, and the series will continue at the LongHouse Reserve in East Hampton in August. The events are free, but reservations are required and can be made by calling 212-271-4283 or emailing [email protected].

While few shed tears at the Francis V. O’Connor memorial symposium on April 12, there was respect and some wry affection for a man who seemed to live by the credo it is better to be feared than loved.

In speaking of him, Avis Berman recalled the line “I don’t get headaches, I give them.” An archivist and art historian, she has been working with Mr. O’Connor’s extensive collection of research files and documents, which he had left to various institutions both before and after his death in November at the age of 80.

Mr. O’Connor was a longtime Jackson Pollock scholar and co-author, with Eugene Thaw, of the artist’s catalogue raisonné. Through it and his work after, he is perhaps best known for his fierce protection of Pollock’s oeuvre from the battalions of forgeries that have presented and re-presented themselves with regularity over the years.

According to Helen Harrison, the director of the Pollock-Krasner House and Study Center in Springs, he was not a full or part-time resident of the East End, but a frequent visitor on business related to Pollock. He was also part of a troika of scholars and administrators of Pollock’s legacy that dates back to his dissertation on Pollock in 1965 and his participation in the Museum of Modern Art’s 1967 Pollock retrospective.

The symposium was jointly organized by Ms. Harrison and the Dedalus Foundation in Manhattan, where the event was held.

Speaking for the Pollock-Krasner Foundation in Manhattan, Kerrie Buitrago, its executive vice president and chief operations officer, called Mr. O’Connor a curmudgeon but the foundation’s “true north.” The foundation was established in 1985 through a bequest by Lee Krasner, who died in 1984, to provide grants “to visual artists of established ability.”

Mr. O’Connor was a member of the foundation’s authentication board, which was active from 1990 to 1996 in examining disputed works for possible inclusion in a supplement to the catalogue raisonné. It disbanded after that because it became “a lightning rod for litigation,” according to Ms. Buitrago. He represented the board every time it was sued after a painting’s rejection and won each of the cases through his unshakable faith in connoisseurship and his demonstration that he had “absorbed into memory the form, composition, and colors” of the artist, she said.

This experience gave him his certainty in disavowing paintings such as one Ruth Kligman, the lone survivor of the Pollock car crash, had consistently claimed to be his last. Even as trustees of Kligman’s estate presented forensic evidence pointing to the painting’s authenticity a few years ago, Mr. O’Connor responded, “I don’t think there’s a Pollock expert in world that would look at that painting and agree it was a Pollock.”

With his passing and the deaths of Mr. Thaw in January and Charles C. Bergman, who was the founding chairman and C.E.O. of the foundation, in March, Mr. O’Connor’s prediction that “when we’re gone, all the fake Pollocks will become Pollocks” could soon be tested.

When asked what inspired her to produce “The Miracle Worker,” Bonnie Grice had a one-word answer: “Bancroft.” Ms. Grice interviewed Anne Bancroft for her WPPB 88.3 FM radio show shortly before the actress’s death in 2005, when the station was at Southampton College and Bancroft and her husband, Mel Brooks, were part of the writers program there. 

“She came in, she was all bundled up, she was battling cancer, and I spent 25 minutes talking with her. I said, ‘I know you’re best known for Mrs. Robinson, but I loved you as Annie Sullivan.’ She said it was her favorite role too. That movie has haunted me, and I’ve wanted to do it onstage ever since I saw it.” 

Ms. Grice’s dream will be realized this weekend at the Southampton Cultural Center, where her Boots on the Ground Theater Company will stage William Gibson’s multiple Tony Award-winning play tomorrow and Saturday at 7 p.m. and Sunday afternoon at 2. 

The play tells the story of Helen Keller, who at 19 months contracted a fever that left her deaf, blind, and mute. Unable to manage Helen’s violent outbreaks of frustration, her parents hired as a teacher Ms. Sullivan, herself half blind. 

The “water miracle” has remained one of the most famous scenes in American theater, and Patti Duke, who originated the role of Helen, went on to a six-decade career in film and television. Bancroft won a best actress Tony Award for her performance.

While Ms. Grice has long been a fixture on the East End as a D.J. and interviewer on WPPB, where she currently hosts “Bonnie in the Morning,” she has become increasingly involved in theater during the past decade. She produced “A Christmas Carol: A Live Radio Play” for the station in 2011 and, in 2015, produced and directed “It’s a Wonderful Life: A Live Radio Play” at the Suffolk Theater in Riverhead.

She launched Boots on the Ground in 2016 with a full production of “Deep Down in Brooklyn” as part of Guild Hall’s JDT Lab series. The one-man show was written and performed by Ed German. She cited as one inspiration for starting the company a production of “An Iliad” held in a junkyard behind Reid Brothers auto repair in Sag Harbor. 

“It was freaking awesome,” she said. “I’m looking at other alternatives myself. I’m thinking ‘inside the box’ as well as ‘outside the box.’ I’m interested in doing a production in a nontheatrical setting if the right project comes along.”

Directed by Joan Lyons, “The Miracle Worker” stars 10-year-old Emma Suhr as Helen Keller and Tina Marie Realmuto as Annie Sullivan. The cast also includes Daniel Becker, Deyo Trowbridge, Gerri Wilson, Josephine Wallace, and Ms. Grice, who also sewed all the costumes.

Tickets are $20, $5 for children 12 and under.

The representation of time has been an enduring concern of art through the ages. Beyond the classical “vanitas” or still life genres, an exhibition at the Sara Nightingdale Gallery in Sag Harbor provides a modest sampling of how artists address similar themes today.

The exhibition, “No Longer Supported,” addresses time’s passage on several levels, including technological change and obsolescence, the passage of seasons, deadlines and schedules, calendars and alarm clocks, and the accumulation of years until an ultimate demise. Time stops, moves forward, and folds in on itself. “Is time progressing or regressing?” asks Ms. Nightingale, an allusion, perhaps, to Nietzsche’s eternal return.

With regional artists as well as those from further away, she has brought together Peter Buchman, Perry Burns, Stephanie Brody-Lederman, Darlene Charneco, Bill Claps, Rossa Cole, James Croak, Cara Enteles, Barbara Friedman, Peter Garfield, Shirley Irons, Steven Kinder, Elena Lyakir, Ruth Ava Lyons, Christa Maiwald, Karyn Mannix, Dalton Portella, Anne Raymond, Bonnie Rychlak, Maggie Simonelli, George Singer, Ross Watts, and Libby Wadsworth in the exhibition 

Given how abstract the concept of time is, it would seem to be impossible for it to be communicated visually aside from a clock face, a calendar, or a digital watch. The artists assembled here have done it directly and indirectly in ways that encourage reflection.

While there are plenty of two-dimensional works, Ms. Nightingale also has amassed some quite different takes and materials. James Croak’s “Shovel” is a sculpture of a hand, propped against a wall in a way that makes it look as if it is emerging from it. In the hand’s grasp is the handle for a shovel, which reaches the floor and provides the base and support for the piece. The shovel is a blunt instrument, with an old school form that people still use. But there is also something morbid implied, a hint of “ask not for whom the shovel digs, it digs for thee.”

In the same room, Rossa Cole continues his repurposing of found objects, branching out from what he finds on beaches to old cellphone handsets. Adopting the attenuated legs and sweeping gestures of Bill King, Mr. Cole’s “Nam June Paik Takes a Selfie” has one hand on his hip and another arm the length of a selfie stick. It is charming and whimsical, and the amount and type of cellphones used, all recognizable from recent memory, packs a deeper punch in terms of just how much waste there is in this era of rapidly changing tech.

Christa Maiwald’s “Coffee Cake (For Jackson Pollock)” features her handmade embroidery, a commercially made placemat and mug, and a slice of real cake that has been sitting in the gallery since the show opened. The embroidery depicts a mug of coffee spilling its contents on the cake and mat below. The artist stops time with the depiction, but makes the piece vulnerable to time’s passage as well. Her reference to a mythologized artist of the past, whose wide appeal has been translated into mass produced tchotchkes, says something else about time’s passage. Could Pollock have ever imagined that more than 100 years after his birth someone would add coffee dribbles from a drip-painted mug to a drip painting placemat?

In Peter Buchman’s pieces, such as “Once Upon a Time,” time is addressed through words that also have physical properties. With raised industrial style lettering, he collects a multitude of expressions: “Time is money,” “ticking time bomb,” “just in the nick of time,” and so on. “New York Time,” written in The New York Times’s characteristic font, also plays with meanings and associations like the pace of a news cycle and the expression “faster than a New York minute.” Superficially pithy, he packs a lot to contemplate into these pieces.

Also working with words and numerals, Ross Watts has painted in straight palindromic numbers, “1 2 0 2 0 2 1,” and the more explicit, “JAN.20.2021.” Both refer to the date of the next presidential inauguration and feature his built up and sanded surfaces, which give his work the gravitas of found tablets.

The “Morphed Florida Drains” of Bonnie Rychlak are made of hand-carved wax. After leaving the works outside in Florida for several years, the hot sun has caused them to warp and altered their once perfect symmetry, adding its own message about time. The wax varies in color slightly from piece to piece, but resembles the matte tones of sea glass.

Maggie Simonelli has incorporated change in her encaustic panels by using copper leaf as part of the composition. Over time, the copper’s natural pigment develops its greenish patina. The gold leaf she includes serves as a complement and then a contrast to the changing hues. Her subject, “Wind & Grasses,” is well suited to the materials both before and after the transformation.

There is plenty more to see and savor here, but “time’s a wasting.” The show closes Monday.