‘I think you’re going to hear a lot of space in this record,” Inda Eaton, the roots-rock, Americana artist said last week. “As many players as there are on this, there’s going to be a ton of space.”

Ms. Eaton, who lives in Springs, was discussing her upcoming album, “Shelter in Place.” Due in June, “Shelter in Place” will be Ms. Eaton’s eighth overall release, and the first to be written entirely at home. 

With the percussionist Jeffrey Smith, Ms. Eaton will perform “Authentic Adventures: Acoustic Highway,” featuring original music performed in three acts, tomorrow at 8 p.m. at Bay Street Theater in Sag Harbor. The artist described the show as “a barn raising of sorts,” an introduction to her new music. 

“Shelter in Place” follows 2012’s “Go West,” which featured the standout track and radio favorite “Love Is a Road,” and subsequent, extensive touring. “We worked that record for a couple of years,” Ms. Eaton said last week. “Then the new songs start coming, sometimes right when you’re in the middle of that record, and you don’t have the proper context about what they’re going to be.” 

“I thought we were going to record this two years ago,” she said, “but realized we were going to make ‘Go West 2.0.’ A different approach, mentality, some restructuring had to happen.”

The title, Ms. Eaton said, references multiple themes, among them the inescapable aftermath of the 2016 presidential election. “Every show, every opening, every reading, every creative I’ve met is referencing the election,” she said. “It doesn’t have to be associated with a certain point of view, but in everybody, there’s an unsettling. That is a catalyst for creativity.”

The musician had embarked on a cross-country road trip after the election. “Things felt . . . tribal,” she recalled. “I’ve never felt that. I drive around a lot, and I’ve traveled through elections. We all move on, but this felt different . . . . You could feel the energy, and sometimes it wasn’t in the obvious stereotypes. People were, and are still, angry.”

The theme of shelter came to her late on that journey. “I thought, what a great name for a tour, a project, because it felt like many people were hunkering down.” 

The songs on “Shelter in Place” also reflect life in Springs, said Ms. Eaton, who grew up in Casper, Wyo., San Diego, and Arizona. “I think this album truly starts to see the influence of living out here,” she said. “This is the first album that all of the songs were penned at the kitchen table. It doesn’t mean they weren’t influenced by other things, but . . . in my thinking and being, you start to see the effects of seasons, and the isolating openness out here. I’m starting to see that come down to more space in the music, in the lyrics. I’m starting to see the space of the isolation, in a good way.” 

Along with its composition, “Shelter in Place,” in another nod to its title, was recorded at home. Ms. Eaton shunned the studio for this project, instead calling on Aura Sonic, a Queens location recording service, to take the studio to her for the three-week production. “It was important not to keep traveling back and forth to a studio,” she said. “It was important to be set, comfortable, not dissipate energy with road trips, with packing and unpacking. In a way, you’re trying to find the center, the shelter of what you do, to convey that art. So the metaphors kept coming for ‘shelter in place.’ ”

Not that that manifestation of the theme was apparent at the time. “We recorded in winter, in Springs, in the woods, in a kitchen,” Ms. Eaton said. “You look back and say, ‘We were sheltering in place,’ but we also recorded in a kitchen because it sounded good.” Aura Sonic’s principal, Steve Remote, “converted the house into NORAD,” she joked, a reference to the North American Aerospace Defense Command in Colorado Springs, Colo. “Then it became even more apparent, what we had done.” 

The temporary studio allowed Ms. Eaton and musicians including Michael Guglielmo (drums), Jeff Marshall (bass), and B. Rehm-Gerdes (guitar) to capture the energy of playing together in the same space, with instruments isolated by baffles. The sounds were routed to and recorded in a spare bedroom that was converted to a control room. 

Overdubs will continue at Ms. Eaton’s home studio, with Mr. Smith adding percussion and the South Fork musicians Arlethia (Mamalee) Lawler, Rose Lawler, and Nancy Atlas contributing vocals. Eve Nelson, a part-time resident of Springs, contributed piano and will mix “Shelter in Place” at her Los Angeles studio. 

“Authentic Adventures: Acoustic Highway” at Bay Street will comprise music, spoken word, and visual content, “with comedy and improv highly likely,” according to a press release. “I think we’re going to have a tremendously intimate show,” said Ms. Eaton, who may play piano as well as guitar. “I usually deliver some kind of tangential narrative to the music, and with that we’ll have some images, even a couple of videos.”

Guest performers will include Arlethia Lawler and Mr. Rehm-Gerdes. But “the core of the show centers around Jeffrey and his percussion,” Ms. Eaton said, describing Mr. Smith as “a one-man symphony.” “I’ve done more shows with Jeffrey Smith than any other person in the world,” she said. “People always say, ‘That’s going to be bare,’ just percussion and acoustic guitar, but it’s very fat. What he does with percussion is amazing.” 

That less-is-more approach is born from the troubadour tradition, Ms. Eaton mused, the working musician on the road armed only with what they carry. That approach works for Ms. Eaton and Mr. Smith on “Shelter in Place” as well, she said, thanks to the additional musicians. “On this record, Jeff and I don’t have to do much, because we have a few more people in this project. The heavy lifting has been distributed.” 

Tickets for “Authentic Adventures: Acoustic Highway” are $30 in advance, $40 tomorrow, and are available at the Bay Street Theater box office or at baystreettheater.org. 

When Therese Lichtenstein first visited the Parrish Art Museum after it opened its new Herzog & de Meuron-designed building in Water Mill, she was excited. “I knew the work of the architects,” she said recently. “And I thought the light coming through those skylights was just absolutely incredible. It changed the view of whatever images I was looking at.”

That eye-opening experience led her to develop “Image Building: How Photography Transforms Architecture,” an exhibition of 57 images by 20 modern and contemporary photographers that will open at the Parrish on Sunday and continue through June 17. 

Three years in the making, the exhibition is organized thematically into Cityscapes, Domestic Spaces, and Public Places, with photographs from different periods and countries juxtaposed within each category. For example, Samuel H. Gottscho’s 1933 image “New York City Views, RCA Building Floodlighted,” which transforms the building into a Depression-era icon of strength and hope, is shown with Hiroshi Sugimoto’s blurred, dreamlike image from 2001 of the same building, which appears to be on the verge of disappearing.

“It’s a loose categorization,” Ms. Lichtenstein said. “I hope when people see the work the juxtapositions will make them think about a lot of different issues — personal, subjective, sociological, philosophical. It’s not a didactic kind of exhibition in any way.”

“I saw that many contemporary photographers actually go back and photograph earlier modernist buildings, and in different ways. So I thought of going back not just to the buildings but to the photographs and then seeing what happens when you place them next to each other. It breaks down the past and creates a dynamic relationship between the past and present. I’m philosophically interested in notions about time and change and transformation.”

Julius Shulman’s 1960 photographs of Case Study House No. 22 in Los Angeles exemplify how images that at one time captured the zeitgeist have become period pieces. Shulman’s high-contrast black-and-white images of the austere modernist house included female models posed not only to enhance the architecture but also to communicate a lifestyle. 

“The images appeared in trade journals and popular magazines,” said Ms. Lichtenstein, “and now we have them on museum walls. Those photographs are so beautiful and elegant, but you look at them and feel nostalgic for what now looks like ancient history.”

Photographs by Berenice Abbott and Iwan Baan, separated by almost 80 years, convey two different interpretations of New York City at night. Shot from the Empire State Building, Abbott’s “The Night View” from 1934 is an almost abstract view of the glowing city whose architecture is lit by its own lights. Mr. Baan’s photographs of the city, shot from a helicopter after Hurricane Sandy, show much of Manhattan in darkness. “In a way it dramatizes the haves and have-nots,” said Ms. Lichtenstein.

Developments in technology have had an impact on architectural photography. In his large-scale 2001 photograph “w.h.s. 10,” for example, Thomas Ruff modified the color and focus of a photograph of 1920s affordable housing to create a blurred image that evokes the passage of time. Mr. Baan required not only a helicopter but also an extremely high-resolution camera to capture his nighttime panorama.

The other photographers represented in “Image Building” are Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Hélène Binet, James Casabere, Thomas Demand, Luigi Ghirri, Andreas Gursky, Candida Höfer, Balthazar Korab, Ed Ruscha, Stephen Shore, Ezra Stoller, and Thomas Struth. 

In conjunction with the exhibition, the museum’s ongoing series of talks, “Inter-Sections: The Architect in Conversation,” will include discussions with Mr. Casabere (April 6), Mr. Baan (April 14), and, on April 20, the architect Lee Skolnik, the photographer Ralph Gibson, and Ms. Lichtenstein, who will discuss “Flattened Space.”

Terry Sullivan sings for love, not money. He performed with Pete Seeger for 24 years and made a total of about $500, “because I did some plumbing for him,” Mr. Sullivan explained, referring to his day job. He still has an uncashed check for $34 from the Clearwater Revival for a performance at the festival inspired 40 years ago by Seeger’s desire to clean up the Hudson River.

Given his longtime relationship with Seeger and his circle, it is no surprise that Mr. Sullivan also sings for social justice, and he will do so twice in Sag Harbor this weekend, on Saturday at 5 p.m. at Canio’s Books and on Sunday afternoon at 2 at the Eastville Community Historical Society.

Titled “Laughin’ Just to Keep From Cryin’,” the a cappella concert will feature both songs from the Irish independence fight and those from other civil rights struggles. “What I’m doing is, I’m showing the commonality across the globe. All these civil rights struggles are usually seen as disparate and separate and unrelated.” The links across cultures can be seen in “coded songs,” a selection of which will be included in both shows.

Coded songs delivered their messages in ways recognized by the oppressed but not by their oppressors. One example is “Nell Flaherty’s Drake,” which dates from 1803, the year Robert Emmet was hung by the British. Emmet was unusual in that he was a Protestant, Anglo-Irish aristocrat who started a group called United Irishmen in part because even the Irish gentry were not immune from English tyranny.

“The drake” was a coded reference to Emmet, and the song included lyrics such as “Bad luck to the robber, be he drunk or sober/that murdered Nell Flaherty’s beautiful drake.” As Mr. Sullivan explained, “You could sing this song in front of a British policeman anywhere in the empire, and he wouldn’t know what you were talking about.”

“Mbube” is another coded song, written and recorded in 1939 by Solomon Linda, a South African musician. “Mbube” means “lion” and was the nickname for Shaka Zulu, the Zulu monarch who was assassinated in 1828. “What Solomon Linda was doing is the same thing the Irish were doing with the drake,” Mr. Sullivan said. “Because the English didn’t speak Zulu, Linda was calling Shaka Zulu back from the early 1800s to the 1940s to fight apartheid.”

The original recording of “Mbube” was discovered in the early 1950s by the musicologist Alan Lomax and given to his friend Seeger, who retitled it “Wimoweh” and recorded it with the Weavers. It became a hit under the title of “The Lion Sleeps Tonight” after it was rewritten for and recorded by the Tokens in 1961.

Mr. Sullivan noted that there are many coded songs in the African-American tradition. One, “Follow the Drinking Gourd,” was supposedly used in the antebellum South to pass geographic escape directions from person to person, allowing them to find their way north from Alabama. While the title refers to the hollowed-out gourd used by slaves as a water dipper, it could also be interpreted as a reference to the Big Dipper constellation, which points north.

Other Irish songs in Mr. Sullivan’s repertoire include “Óró, Sé do Bheatha ‘Bhaile,” the modern version of which was written by Patrick Pearse, one of the martyrs of the 1916 Easter Uprising. An earlier version of the song had welcomed Prince Charles to Ireland in the 18th century in the mistaken belief he would help the Irish. Pearse turned to the 16th century to conjure up as an inspiration Grace O’Malley, the “pirate queen” who was the most famous woman in Ireland in the second half of that century and so powerful she was received at court by Elizabeth I. The song, which called upon the legendary pirate to fight with and negotiate for the Irish, is still popular in Ireland today.

Mr. Sullivan’s knowledge and experience of music is as deep and reliable as his wit, and the concerts are likely to be peppered with entertaining and informative anecdotes from his years of friendship with the Seegers as well as little-known facts about the material in his set list.

During the course of his more-than-40-year curatorial career, most of it spent at the Museum of Modern Art, Kynaston McShine, who died in January at 82, organized some of the most important contemporary art exhibitions of his time. He retired as MoMA’s chief curator in charge in 2008.

Less widely known than his groundbreaking exhibitions is his early and ongoing connection to the East End, especially Springs, where he rented for many years and eventually bought a house on Driftwood Lane.

The artist Robert Harms, who lives in Southampton, elaborated. “For me the loss of Kynaston is really significant in many ways, in part because he was one of the last links to the history of artists, curators, and writers who began to come to the Springs in the 1950s and 1960s. Especially people like Joe LeSueur, Frank O’Hara, Patsy Southgate, and Mary Rattray.” A longtime friend of O’Hara’s, Mr. McShine wrote an introduction to the poet’s book “In Memory of My Feelings.” 

Born into a large, prominent family in Port-of-Spain, Trinidad, on Feb. 20, 1935, Mr. McShine attended Queen’s Royal College there before enrolling in Dartmouth College, from which he graduated in 1958. 

He established himself with “Primary Structures: Younger American and British Artists,” one of the first and most important museum exhibitions devoted to Minimalism, which he organized at the Jewish Museum in 1966. Four years later, at the Museum of Modern Art, he curated “Information,” a survey of work by some 130 artists linked by the effort to extend the idea of art beyond traditional categories.

Other major exhibitions included “Marcel Duchamp” (1973), “Robert Rauschenberg” (1977), “Andy Warhol: A Retrospective” (1989), “The Museum as Muse: Artists Reflect” (1999), “Edvard Munch: The Modern Life of the Soul” (2006), and “Richard Serra Sculpture: Forty Years” (2007). His commitment to younger and contemporary artists was reflected in the museum’s Projects series, which he launched in 1971 with an installation by Keith Sonnier.

Mr. Sonnier said of that show: “I did a project with Kynaston at MoMA in 1971, his first environmental show for the museum. We followed each other’s work throughout the years and became friends later on when we both spent time in the Hamptons and indulged our shared appreciation of Caribbean food. He will be greatly missed by both our New York City and Hamptons communities.”

Mr. Harms recalled first meeting the curator. “Joe LeSueur brought Kynaston to my small cottage adjacent to the Green River Cemetery for a summer studio visit, and we remained friends over all these years. Springs will be significantly different without Kynaston — his wit, his unique, sometimes brusque charm, and his searing intelligence.”

The artist Billy Sullivan and his partner, Klaus Kertess, who died in 2016, were close friends with Mr. McShine. “I will miss my summers in Springs with him,” said Mr. Sullivan. “One of our routines when I would pick him up was to take a detour along Gerard Drive. Even as he grew increasingly frail, if he wanted to be somewhere, you could count on him being there, and always impeccably dressed.”

While Mr. McShine’s cutting wit was familiar to those who knew him well, so was his kindness, generosity, and loyalty. “When my son, Max, died in 2005 in a paragliding accident,” said Mr. Sullivan, “Kynaston sent me these lines from Frank O’Hara’s notebook: He falls; but even in falling he is higher than those who fly into the ordinary sun.’ ”

He also was especially kind with children, according to the artist George Negroponte, a longtime friend who lives in Springs with Virva Hinnemo, also an artist. “He wanted to know everything. What are they reading? Do they admire Obama? What on earth is crypto currency? My son Viggo was six when we moved to Springs. He and Kynaston met and felt an enormous attachment almost immediately. ‘I think I’m going to be the godfather,’ Kynaston said, and he was.”

Michael Boodro, former editor in chief of Elle Decor, knew Mr. McShine for more than 40 years. “When I first met him, I knew he was famously private, even difficult, and he was notoriously sharp-tongued. But, behind that gruff, even fierce, exterior, was a man of great humor, warmth, and fierce loyalty.”

Mr. Boodro listed opera, theater, poetry, and travel as among Mr. McShine’s passions. “He loved London and he loved Venice. He loved Trinidad, where he grew up, and he loved the Springs. For many years he would rent a small house on Gerard Drive and troop out there every August with assorted friends, a case of wine, and Blossom Dearie CDs.” 

“One of his proudest moments was when he was finally able to buy his own small piece of Springs heaven. There he was most himself, surrounded by his beautiful garden, his endless stacks of books and magazines, with his pool burbling gently in the background and arias wafting out onto the deck.”

Mr. Boodro cited the Museum of Modern Art as Mr. McShine’s greatest passion. “His focus was on not only the original and historic exhibitions for which he was justly acclaimed, but equally on the slow, careful, day-to-day building of the Museum’s collection. He knew virtually every artist, and every collector of modern and contemporary art. He knew every piece they owned, and where each was likely to end up. . . . He regarded each acquisition the museum made as a triumph, each work that went elsewhere as a personal defeat.” 

“He only had good words for MoMA,” according to Mr. Negroponte, who elaborated on Mr. McShine’s curatorial range. “One of the things everybody misses is that there’s a very divided curatorial vision. On the one hand, you have a great commitment to Minimalism, as represented by ‘Primary Structures’ and, later, Richard Serra. . . . But from the early 1970s to 1980, he goes from Marcel Duchamp to ‘Natural Paradise’ to Rauschenberg and Cornell and lays out a whole different range of issues for himself.”

“The Natural Paradise: Painting in America 1800-1950,” which opened in 1976, ranged from the romantic paintings of Washington Allston through the Hudson River School and the Luminists to the New York School. According to a press release, it probed and clarified those attitudes — romantic, transcendental, intent on the sublime — that have linked the aspirations of American artists from Bierstadt and Church to Newman and Rothko.

Writing about the work of Joseph Cornell, whose retrospective he organized in 1980, Mr. McShine said, “Founded in the magic and mystery of the poetic experience, his collages, films, and constructions are affirmations of serenity, recollection, enchantment, beauty, the extraordinary.” 

“He was a big, big presence in the lives of a lot of people,” said Mr. Negroponte. “I’m absolutely floored by how many young people hold his work in such high esteem. I asked him many times if he wanted to do an oral history or something and he always said, ‘The work speaks for itself.’ He did not give many interviews. He didn’t want to deal with the self-promotion side of things.”

The artist Mary Heilmann, who has a house in Bridgehampton, put it very simply: “Kynaston was genius, and I got to see a lot of him while visiting Klaus Kertess and Billy Sullivan. It is sad to see two empty seats at the table at Billy’s house now.”

The Hamptons Take 2 Documentary Film Festival has anted up in what has become a friendly year-round competition among cinema presenters on the East End. With its newly adopted mantra, “All docs all year,” HT2FF joins the Sag Harbor Cinema Arts Center, the Hamptons International Film Festival, the Southampton Arts Center, Guild Hall, the Parrish Art Museum, and area libraries, all showcases for films likely to bypass the area’s multiplexes.

The first of the festival’s upcoming FilmArts + Forum programs will feature “Portraits of a Lady,” a 2008 documentary that chronicles a single day in which 25 artists came together to simultaneously paint portraits of the former Supreme Court Justice Sandra Day O’Connor. Directed by Neil Leifer and produced by Mr. Leifer and Walter Bernard, the film will be shown tomorrow at 7 p.m. at the Shelter Island Public Library. A question-and-answer session with Mr. Bernard will follow the screening.

The series will continue next Thursday evening at 7 at the John Jermain Memorial Library in Sag Harbor with “All Me: The Life and Times of Winfred Rembert,” Vivian Ducat’s film about an African-American artist who grew up in the Jim Crow South and spent time on a Georgia chain gang. Ms. Ducat will be present for a discussion afterward.

Judith Leiber is internationally known for her handbags, and Gerson Leiber, her husband, is a noted abstract painter. But when visiting the exhibition hall and storage facility they built on their Springs property, visitors are probably most surprised at their collection of Chinese ceramic objects.

The couple will receive even more attention for their devotion to the medium when Sotheby’s opens an exhibition of their holdings next Thursday before an auction on March 20. Called “Inspired: Chinese Art From the Collection of Gerson and Judith Leiber,” it will feature almost 100 objects, some dating back centuries.

Of particular note are the small evening bags called minaudieres that Ms. Leiber designed based on the objects. They are not part of the sale or exhibition but are represented in some beautiful photos by Gary Mamay.

From their earliest days as a couple in Budapest in the 1940s, the Leibers began collecting Chinese art, attracted by “the art form’s intricate designs and beautiful motifs,” they said in a press release.

Some 20 years later, after the couple immigrated to the United States, Ms. Leiber founded her handbag company, which raised the design of her tiny evening bags to the level of high art. Fashionistas the world over have carried her bags at coronations, inaugurations, and on the red carpet. Mr. Leiber’s paintings and drawings are in museums including the Metropolitan Museum of Art and the Smithsonian.

Of particular interest in the Chinese sale is a pair of Qing dynasty “soldier” vases and covers dating from 1740 that stand 52 inches tall. They are decorated with pheasants in a garden with smaller birds and butterflies and have a presale estimate of $250,000 to $400,000.

A Ming dynasty incense burner or censer and lid is in the form of a luduan, a mythical creature “with the ability to traverse vast distances in a day and to master all languages,” according to Sotheby’s, and “said to appear only in areas where a virtuous leader was present.” The object, which is 13 inches high, has an estimate of $60,000 to $80,000. It dates from the Wanli period of 1573 to 1620.

A cizhou ware tiger-form pillow from the Jin dynasty, which lasted from 1115 to 1234, has an estimate of $12,000 to $15,000 and shows the couple’s engagement with animals. Ms. Leiber was so inspired by the form that she based the design of one of her handbags on it.

According to Angela McAteer, the head of Sotheby’s Chinese works of art department, the Leiber collection is “colorful, whimsical, and vibrant,” allowing the Leibers’ “unique aesthetics to shine through.”

Beginning its fourth season, the Bridgehampton Chamber Music Festival’s spring series will kick off on Saturday. Some of the outstanding musicians who are regulars during the summer version of the festival will grace the stage then and on May 5, and in between, on April 7, the Pacifica Quartet will have a guest performance for the first time with the festival.

As The New Yorker aptly said last year, “This longtime East End festival . . . has flourished by offering concerts both effervescent and distinguished,” and this spring’s lineup promises to deliver the same high caliber of talent, engaging artistry, and excitement that devotees have always experienced with the festival.

The first concert features the flutist Marya Martin, who is the founder and artistic director of the festival, Orion Weiss, a pianist, and Peter Wiley, a cellist. Mr. Weiss recounted last week that he met Ms. Martin some time ago when he was a student at Pianofest in Southampton. 

“I was at Pianofest every year from when I was 14 through maybe 20,” he said. “I think I might have the record for the most summers there altogether. Then I played at the Bridgehampton festival once in my early 20s and again in my later 20s, and it’s been many years in a row since then. So the Hamptons sort of feel like where I grew up. I have so many friends there . . . I feel like it’s coming to my summer home. It’s become a big part of my life, and a consistent part.”

The concert features the music of two Czech composers, Bohuslav Martinu, of the 20th century, and Anton Dvorak, of the 19th century, as well as Mozart. Martinu may not be in the top 10 names of classical composers who come to mind, though his Trio for Flute, Cello, and Piano has been played at the festival several times before. 

“Martinu is one of my favorite composers,” Ms. Martin said recently. “It may sound trite to say that, but I go through phases of loving what a composer has a knack for doing. I love his energy, how he pushes chords to tension and release,” and how he plays with rhythm and meter in a similar way. “He pushes the envelope a little bit and it all seems out of kilter, but two bars later it all comes together.”

“It’s absolutely charming, filled with humor,” Mr. Weiss said of the trio. “Martinu always encompasses a wide range of character and emotion. The second movement is very beautiful, and the outer movements are like romps for the three instruments.”

Mozart’s stormy Piano Quartet in G minor follows next on the program, with Erin Keefe on violin and Hsin-Yun Huang on viola, joining Mr. Wiley and Mr. Weiss. While the piano trio was standard in the 18th century, the piano quartet was a novelty when Mozart composed this one, and it is regarded as the piece that turned the piano quartet into a viable and lasting form. Dvorak’s substantial and magnificent Piano Quartet in E flat crowns the performance. 

Mr. Weiss characterized the quartet as “an absolute masterwork. It’s like a symphony for the four instruments. It’s like being in a miniature orchestra . . . it’s a way to connect with every musician’s ideas and personality, and you can learn in a direct way from their education and instincts.”

The Pacifica Quartet has existed for almost a quarter of a century and achieved international recognition as one of the finest ensembles today. It was named the quartet in residence at Indiana University’s Jacobs School of Music in 2012, and was previously the quartet in residence at the Metropolitan Museum of Art. The quartet was appointed to lead the Center for Advanced Quartet Studies at the Aspen Music Festival and School in 2017. In addition, Pacifica has received a Grammy Award for best chamber music performance.

Ms. Martin contrasted a concert by a quartet and one of the usual programs, which bring together a number of musicians to form an ensemble for one work or one evening and have their own kind of exciting dynamic and “electricity.” But it’s a different experience to present a quartet such as the Pacifica that is so very used to playing together, she said, as “they are so in sync with each other, and it’s a different sort of a discipline. It’s a mind-blowing thing to watch and hear them.”

On April 7 the Pacifica Quartet will offer string quartets of three of the towering giants of that genre: Haydn’s Quartet in G (Op. 76), No. 1, Shostakovich’s F Major (Op. 73), and Beethoven’s C Major (Op. 59), No. 3. The four players in the ensemble are Simin Ganatra, violin, Austin Hartman, violin, Guy Ben-Ziony, viola, and Brandon Vamos, cello.

Finally, on May 5, well into spring, the festival will offer a warm program of “Spring Winds,” with a colorful palette of wind instrument timbres. First is Beethoven’s youthful Trio for Flute, Bassoon, and Piano, followed by two 20th-century French works by Francis Poulenc: Sextet for Piano and Winds, and Trio for Oboe, Bassoon, and Piano. Mozart’s Quintet for Piano and Winds will close the season.

While most of the players in the spring and summer editions of the festival are veterans, Eric Reed, a horn player, and Roman Rabinovich, a pianist, will be making their first appearances with the festival at this concert. Joining them will be Ms. Martin, John Snow on oboe, Romie de Guise-Langlois on clarinet, and Peter Kolkay on bassoon.

The three events will take place in the elegant and historic Bridgehampton Presbyterian Church, the festival’s main venue, noted for its fine acoustics. All are on Saturdays at 6 p.m. Tickets are $40 or $60, $10 for students, and discounts are offered for subscriptions. More information is at bcmf.org or 212-741-9403.

Following more than three decades of Bridgehampton Chamber Music Festival success, gradually adding programming innovations along the way, the spring series began in 2015 with two concerts; it has since expanded to three. 

“As the world continues to be strained by so many issues,” Ms. Martin said in a release, “we are looking forward — to this spring, to our 35th summer, and to many more seasons to come — with optimism and joy, knowing that we are touching the hearts of so many.” 

Details of the summer events will be announced in May.

Corinne Erni’s first visit to the East End was in 2016, when she traveled from New York City to Water Mill to interview for the position of curator of special projects at the Parrish Art Museum. 

“I never planned to leave New York,” she said. “But as soon as I saw the museum and became acquainted with its collection and exhibitions, I got very excited. And the area is beautiful beyond belief.”

Since joining the staff in September 2016, Ms. Erni, despite being a newcomer, has lost no time in putting her imprint on the museum’s programming. Whether implementing a weekend symposium on water and climate change or launching “Inter-Sections,” an ongoing lecture series focused on architecture, she is driven by a desire to bring together voices from different disciplines “to create cohesive, future-oriented narratives with art as the connecting membrane.”

“(Re)Sources: Symposium on Water and Climate Change,” held last September, reflected Ms. Erni’s tendency to launch “theme-based rather than media-based” initiatives. The weekend began with a panel discussion titled “Water: A (Re)Source of Inspiration,” which featured Alexis Rockman, whose field drawings and dystopian paintings engage environmental issues, Edwina von Gal, a landscape designer dedicated to sustainable, toxin-free landscaping, and Shane Weeks, a member of the Shinnecock Nation, multidisciplinary artist, and cultural consultant who travels up and down the East Coast to study the history and culture of other native peoples.

The event also featured a performance of “The Watery Owl of Minerva” by Optipus, a Brooklyn  collective and orchestra. Held on the museum’s terrace, the event included hand-painted slides, Super 8 and 16-millimeter films, overhead projections, digital video, and original music and sound.

“The performance was all about water and nature,” said Ms. Erni, “and it was a sort of artistic approach to climate change and how we react to these images. I like to bring these things together, not just talk about a subject but also experience it through our senses.” She plans to hold a weekend program on climate change every year.

Upcoming programs reflect her global outlook and her interest in collaborating with other institutions. This year’s Platform series, which invites artists to create interdisciplinary works that utilize the entire museum and its grounds, will feature Barthélémy Toguo, an African artist from Cameroon.

“The first thing I thought when I came out here is there has to be an opportunity for artists to spend time here, because it’s so unique and so beautiful. We don’t have that possibility on our premises, but we started talking to the Watermill Center, and they proposed a collaboration.” 

Mr. Toguo, whose multidisciplinary work deals with issues of migration, colonialism, race, and the relationship between the global north and south, will spend June at the Watermill Center, where he will develop his project for the Parrish. Platform will open in August and continue through mid-October. 

This summer’s Parrish Road Show, for which artists create off-site installations, will feature two emerging artists, Jeremy Dennis of the Shinnecock Nation and Esly Escobar from Westhampton. 

Mr. Dennis will install works from his “Stories” series at the John Little Barn at Duck Creek Farm in Springs, which, in addition to its place in the artistic history of the East End, is also near important Shinnecock sites, among them the Springy Banks Powwow Grounds and the Soak Hides Dreen. “Stories” will open on Aug. 11.

At Quail Hill Farm in Amagansett, Mr. Escobar will create “Playground,” a site-specific installation including an abstract figure made of balls used in a variety of sports that reflect the wide range of social strata on the East End — tennis, soccer, golf, and basketball. “Playground” will open on Aug. 18.

Born and raised in a small town in Switzerland, Ms. Erni attended the School of Fashion and Design in Milan and worked as a designer in Switzerland, Italy, and New York City, where she moved in the late 1980s. She took a job at the United Nations in 1990 in order to get a work visa, but her future was shaped not in Midtown but downtown, where she lived on Second Street at Avenue B.

“It was New York in the late 1980s, the heyday of the East Village, where art aficionados and artists of all disciplines would hang out together and professional lines got blurred. Many of my friends were visual artists, dancers, and theater directors, and I went to see every possible exhibition and performance. I gradually realized I wanted to be in the arts and culture full time.”

In 1996 she enrolled in the New York University journalism school’s graduate program in cultural reporting and criticism, which had been inaugurated a year before by Ellen Willis, the cultural critic and Village Voice writer. “It changed the course of my life,” Ms. Erni said.

What followed was a succession of jobs and projects that both reflected and continued to develop her global outlook and commitment to “creating an international network of cultural workers and artists who deal with urban issues.” 

While working at the Swiss consulate as deputy cultural attaché, she organized and promoted Swiss Peaks, a festival featuring more than 100 cultural events at 35 venues, among them Cooper Union, Lincoln Center, and the Brooklyn Academy of Music.

After leaving the consulate, she organized a pan-European performing arts festival in 2006, and, in 2009, a yearlong festival of exhibitions, performances, and screenings of work by contemporary Hungarian artists at such venues as the Museum of Modern Art, the National Gallery of Art, the Jewish Museum, and the Library of Congress. 

After seven years as an independent curator and arts producer, she was hired by the New Museum in New York City, where she worked with the director, Lisa Phillips, and the chief curator, Richard Flood, to create Ideas City, a biennial arts festival focused on how art and culture can change urban spaces and urban life. 

In addition to biennial three-day festivals in New York, Ideas City held global conferences in Istanbul in 2012 and Sao Paulo in 2013. “The Istanbul festival happened just before the Taksim Square uprising, and you could really feel the dissatisfaction of the young creative people there. In Sao Paulo, too, there were lots of demonstrations that started over the bus fare increases.”

“I invited people from Istanbul to come to Sao Paolo and to compare and discuss what their issues were. There were similarities but obviously also huge cultural differences. We brought back some people to the New York conference, including artists to do projects there.”

The move to Water Mill has done nothing to rein in her global outlook. “The Parrish is such an interesting museum because it’s relevant locally and regionally but also internationally. I’m hoping to build on that and flesh that out.”

New at Rental Gallery

“Space Never Moved,” a show of new paintings by Margaux Ogden, will open on Saturday with a reception from 4 to 6 p.m. at the Rental Gallery in East Hampton and remain on view through April 18.

Ms. Ogden, who lives and works in Brooklyn, paints in acrylic on raw canvas to create tightly patterned, self-referential works. While in the past she has used phrases and symbols as a painterly typeface, the new works lack discernable script. The result is paintings stripped to their bare essentials: paint, canvas, gesture, and time.

Small Works at Folioeast

Concurrent with its pop-up at Kathryn Markel Fine Arts in Bridgehampton, Folioeast has opened “Seven,” a show of small oil paintings, watercolors, mixed-media works, and collage at Malia Mills on Main Street in East Hampton. The exhibition, which will run through April 1, includes work by Kirsten Benfield, Diane Englander, Donna Green, Joe Loria, Lesley Obrock, Jerry Schwabe, and Janice Stanton. 

Mizrahi at Ashawagh

An exhibition of work by Haim Mizrahi of East Hampton will be on view at Ashawagh Hall in Springs on Saturday and Sunday. A reception will be held on Saturday from 4 to 8 p.m., and a reading by East End poets will take place Sunday afternoon at 3. Mr. Mizrahi noted that, while the show is a retrospective, it includes many pieces from this year.

Straus at Grenning

“Oncoming,” a solo exhibition of paintings by Adam Straus, will open at the Grenning Gallery in Sag Harbor with a reception on Saturday from 5:30 to 7 p.m. and continue through April 15.

The refined craft of Mr. Straus’s realist paintings is often overlaid with experimental touches that express his concern with political and environmental issues. Works from his “Old News” series, for example, consist of realistic landscapes and seascapes painted on recent newspapers whose partially visible headlines bring current politics into play.

In another series, the Riverhead-based artist uses the iPhone app “Glitch” to distort photographs of remote landscapes and then paints the technological distortions onto his classical versions of the scene. He also breaks the picture plane by painting on the works’ lead frames.

Solomon in Sarasota

“Native Shore,” an exhibition of work by Mike Solomon, will open with a reception this evening from 5:30 to 8 at Alfstad & Contemporary in Sarasota, Fla., and remain on view through April 14.

Growing up, Mr. Solomon lived half the year in East Hampton, the other half in Sarasota. He was a fixture on the East End art scene until relocating to Florida several years ago, and the exhibition celebrates his return there. 

“The horizontal line is the perfect icon for this place, so I chose to make paintings using only horizontal stripes,” he has said about his recent work. “Each colored stripe indicates both what I have outwardly observed and inwardly felt.”

Assemblages and Collages 

Assemblages and collages by Jeanelle Myers, a Sag Harbor artist, will be on view at the John Jermain Memorial Library in Sag Harbor from Saturday through April 30. A reception will take place March 24 from 2:30 to 4:30 p.m. Ms. Myers combines discarded objects — stones, shells, pieces of metal, shards of glass or ceramic — intuitively, “with no message in mind,” according to her website. 

Parcher Retrospective

“Figuring It Out/Then and Now,” a retrospective exhibition of work by Joyce Parcher of Amagansett, is on view at the Ceres Gallery in Chelsea through March 24. In Ms. Parcher’s words, her paintings, which feature whirling brushstrokes of raw color and abstract human figures, can be seen as “a metaphor for a disorder, change, and the indefatigable power of the human spirit . . . a reflection of the dichotomy of pain and pleasure we all experience over the course of time.”

Next Thursday, Sydney Albertini will take Japan with an exhibition of her fiber works at Julien David’s Jingumae Shop through May 31.

According to Ms. Albertini, the show came out of an acquaintance that was struck with the clothing designer before he moved to Tokyo. “We have been following each other’s careers and when he opened his space in Tokyo he invited me to take over his ground floor and turn it into a world of my own.” 

Mr. David’s “focus is to unfocus on the walls and create a real three-dimensional space set up by hanging, standing, and protruding pieces,” all fiber based. There will be quilts, weavings, and multi-dimensional knit and fabric pieces.

It will be the first time Ms. Albertini has shown work in Japan. She said she is looking forward to learning more about the contemporary art scene in Tokyo to expand her appreciation of ancient Japanese art, their textiles, and pottery. “I share their love and respect for classic and very focused techniques, transforming storytelling into modern visuals with a strong relation to nature.”