Allan Wexler will discuss his work, which fuses sculpture, photography, painting, drawing, and architecture, and sign copies of his new book, “Absurd Thinking: Between Art and Design,” at the Parrish Art Museum in Water Mill Friday at 6 p.m.

The first comprehensive monograph on the artist, “Absurd Thinking” illustrates a cross section of his multi-scale, multimedia work through his writings, narratives, and reflections. It documents more than 200 projects that mediate the gap between fine and applied art.

Tickets are $12, free for members and students, and advance reservations have been encouraged.

Live From SAC, a partnership between the Southampton Arts Center and the Jam Session, will present the World Music Collective on Saturday at 7 p.m. Rooted in the funk and groove tradition, the collective brings together Salieu Suso on vocals and kora, a 21-stringed West African harp, and Ebrima Jassey on balafon, a kind of wooden xylophone played in Africa since the 12th century.

They will be accompanied by Dan Lauter on saxophone, Stan Wright on bass, and Claes Brondal on drums. Tickets are $15 and include a reception with hors d’oeuvres and sangria at 6:30.

The 80th birthday of Tom Paxton, the folk icon and Grammy Lifetime Achievement Award winner, who lived for many years in East Hampton, was celebrated on Sunday with a concert at the Schimmel Center at Pace University in New York City. Mr. Paxton teamed up for the program with Don Henry and Jon Vezner, Grammy Award-winning songwriters known as the DonJuans.

Attention local theatergoers: For those thinking of seeing just one show this fall, look no further than “Clever Little Lies,” running now through Nov. 12 at the Hampton Theatre Company in Quogue. Joe DiPietro’s 2013 comedy-drama is an exploration of contemporary marriage, and, as directed by Andrew Botsford, this new production is both hilariously funny and laden with genuinely stinging dramatic barbs. 

Much of the humor comes from the familiarity of the characters, all of whom will be easily recognizable to Hamptons audiences. As the play opens, a father and a son, both lawyers, talk in the locker room of a health club where they have just finished a set of tennis. When Bill Sr. (played by Terrance Fiore) gently teases his son, Billy (Edward A. Brennan), about having beaten him, Billy admits to being distracted. His wife has just had a new baby, after all, and he is stressed at work. And, oh yes, he is having an affair with a 23-year-old personal trainer. 

The father is appalled and demands his son end the affair immediately, but Billy is sodden. “It’s like she has a window into my soul,” he argues without irony; Bill Sr.’s knowing glance reminds us the window she has to Billy is more likely some where south of his heart. 

Off we go then to John Cheever land, as Billy’s parents invite him and his wife to their comfortable suburban home for drinks in an effort to intercede in their marriage. Here we are introduced to Billy’s mother, Alice, a bookstore owner who laments popular fashion, declaring the “Fifty Shades of Grey” series unreadable. How does she know this, asks Bill Sr.? Because she’s read them all, Alice announces. 

Expertly played by Diana Marbury, Alice is a woman of wit and observation, relating how in her own store’s cafe patrons flip through trashy novels while sipping coffee from mugs adorned with pictures of Charles Dickens; they want the cachet of culture without the commitment. 

Cheesecake is served, alongside copious amounts of Scotch whiskey. Alice passes on dessert — “I’m saving my calories for alcohol,” she says — and the dialogue moves smoothly from the joys and sorrows of child rearing to those of marriage, though not without interruptions. The baby (on monitor from the bedroom, of course, for this most contemporary of couples) cries intermittently, while Billy’s cellphone keeps ringing — his baby-doll mistress won’t leave him alone.

There is a hilarious sequence when Alice grabs the cellphone from her son’s hand during one of these calls and then can’t shut it off — she’s as incompetent with technology as she is hostile to it. The expectation, of course, is that this is where the daughter will learn of the affair, and the bloodletting will begin. But Alice manages to finally turn it off, setting the stage for her long monologue on infidelity. She herself, Alice dramatically announces, had an affair years ago. 

One of the conceits of “Clever Little Lies” is that the audience doesn’t know whether Alice’s long recounting of her past affair is true, or just a fiction she has concocted to dissuade her son from continuing his dalliance. If the latter, then Bill Sr. is in on the game as well, looking wounded and swilling his Scotch on cue when Alice’s story grows erotic. 

That Bill Sr.’s reaction works both as truth and fiction within a fiction is a tribute to Terrance Fiore, whose work here is pitch perfect in every way. Mr. Fiore’s relaxed, grounding performance finds both the sharp sense of irony and the forgiving humanity in his character. He is the anchor for what is already a superlative cast, which includes Edward A. Brennan, who finds both the callowness and the heart in Billy, and Carolann DiPirro as his wife, Jane, impossibly likable even when her neurotic obsession with her newborn is revealed as her own brand of narcissism. 

Is the ending of “Clever Little Lies” a little tidy? Perhaps. Along the way, however, the dialogue in Joe DiPietro’s play is so sharp and funny, and the acting here so spot-on, that it hardly matters. This production is regional theater at its best, right down to Sean Marbury’s set design, which recreates a cozy contemporary home so familiar that many in the audience may think they are looking directly into their own living rooms. 

It is one more detail in what stands out as one of the most successful Suffolk County productions in recent memory. 

Guild Hall will greet late fall and the holiday season with a combination of live, recorded, and simulcast entertainment, including this season’s most talked about opera and a holiday sing-along. The new season will also involve a partnership with BroadwayHD, which will transmit performances from “the Great White Way” directly to Guild Hall’s theater.

Thomas Ades’s “The Exterminating Angel,” which was co-commissioned by the Metropolitan Opera, had its American premiere last Thursday and will be simulcast at Guild Hall on Nov. 18. The opera is based on the Luis Bunuel and Luis Alcoriza film of the same title and features the unusual music of tiny violins, a salad bowl, and a slamming door. Mr. Ades is conducting the opera. The libretto is in English and will be sung by an ensemble cast, several of them making their Met debuts. The New York Times has already declared in a review that this is the one opera to see this year.

Sam Shepard’s Pulitzer Prize-winning “Buried Child” will be the first play screened by BroadwayHD, on Nov. 17. The New Group revival stars Ed Harris and Amy Madigan and is directed by Scott Elliott. The plot centers around a fractured family’s struggles to keep their farm and the secret they have long guarded. Reviews of the play have praised Mr. Harris’s performance, and The New York Times called the production “thoughtful and absorbing.”

Another big-screen event coming to Guild Hall is National Theatre Live’s “Who’s Afraid of Virginia Woolf?” by Edward Albee, starring Imelda Staun­ton, Conleth Hill, Luke Treadway, and Imogen Poots, on Nov. 11. Set on an American college campus, a new professor and his wife are witness to the dysfunctional relationship of George and Martha and the alcohol-fueled night of reckoning for their unraveling relationship. The Guardian gave this production five stars.

It will be followed by Stephen Sondheim’s “Follies” on Dec. 15. The musical is set in 1971 New York, where a theater is about to be torn down. A group of women who performed there as Follies girls three decades before reunite over drinks to reminisce, sing some songs, and tell some tall tales about their lives since. The cast includes Tracie Bennett, Janie Dee, and Imelda Staunton. The screened performances range in price from $15 to $22. 

Several live JDT Lab events are scheduled for the coming weeks, too. The free Tuesday night performances of works in process continue this week with a staged reading of “Ancient History” by David Ives. The fast-paced comedy will be performed by Stephanie Linas and Daniel Schwartz, who will debate marriage and family as a linguistic duel. 

On Nov. 21, “Gutless & Grateful,” written and performed by Amy Oestreicher, will tell her story of harrowing medical experiences and miraculous survival. Part of a national tour, the production was chosen for Thanksgiving week because of its hopeful and grateful message. Also timed for the holidays is “A Christmas Sing-Along and Musicale” by the Johansen-Markard Piano Duo on Dec. 12. The curtain for all JDT Lab events is at 7:30 p.m.

Grant for Guild Hall

The Robert D.L. Gardiner Foundation has awarded Guild Hall $50,000 to support the digitization of the museum’s permanent collection. The grant will enable the development of a publicly accessible, searchable online database of more than 2,400 works by artists with ties to the East End, including masterworks from the 19th, 20th, and 21st centuries.

Jess Frost, the museum’s associate curator and registrar of the permanent collection, will manage the project, with photography set to begin in January. Christina Strassfield, the museum’s director, will supervise each stage of development.

New at RJD Gallery

“Big Art, Small Canvas” is on view at the RJD Gallery in Bridgehampton through Jan. 1. The exhibition features the work of 25 artists from around the world “whose dynamic compositions and narratives are contained within a ‘small canvas,’ ” according to the gallery.

Benefit Show at Tripoli

The Tripoli Gallery in Southampton will present “Love Isabela,” a fund-raising exhibition to benefit residents of Isabela in Puerto Rico, from tomorrow through Nov. 19. A reception will take place Saturday from 4 to 7 p.m.

The show will have two components: paintings by Felix Bonilla Gerena, who lives and works in Isabela, and a private auction of artworks donated by some 30 artists, among them Alice Aycock, Bob Colacello, Judith Hudson, Yung Jake, Lola Montes Schnabel, Miles Partington, Renee Phillips, and Dalton Portella.

Mr. Gerena’s paintings, which express a personal relationship to his island home, depict female figures, tropical plants and creatures, and seaside landscapes, all rendered with vibrant colors and bold lines. 

All proceeds raised through the private auction will go directly to the victims of Hurricane Maria in Isabela. Tripoli Patterson, the gallery’s director, will travel there to ensure that supplies are delivered to those who most need them.

Krasner in Chelsea

“Lee Krasner: The Umber Paintings, 1959-1962” will open today at the Paul Kasmin Gallery in Chelsea and remain on view through Jan. 13. Also known as her “Night Journeys,” the paintings represent a transitional period in Krasner’s development. Because she was suffering from insomnia during those years, she painted under artificial light at night and limited her palette to earth tones. The series consists of 24 paintings.

Holiday Show at Roman

Roman Fine Art in East Hampton will present “Get With the Program 2017,” its second annual holiday group exhibition, from tomorrow through Jan. 28. A reception will be held Saturday from 6 to 8 p.m.

The show will feature painting, photography, and mixed-media works by nine contemporary artists. Conceptual, landscape, figurative, and sociopolitical work will be represented, as will street art and geometric abstraction. Participating artists are Christina Creutz, Lizzie Gill, Maya Hayuk, Elektra KB, Reisha Perlmutter, Ciara Rafferty, Leah Schrager, Sarah Slappey, and SWOON.

Folioeast Returns

For the second off-season in a row, Folioeast will set up shop, so to speak, in the space occupied during the summer by Malia Mills, an upscale boutique for women on Main Street in East Hampton.

Organized by Coco Myers, the first exhibition, which will open with a reception on Saturday from 5 to 8 p.m. and run through Dec. 3, will feature work by three female photographers: Carolyn Conrad, Francine Fleischer, and Sandi Haber Fifield. A portion of the proceeds from sales will benefit local charities and children’s programs.

The gallery will be open Friday through Sunday from noon to 5 p.m. or by appointment with coco@folioeast. com.

“In Process” at the Watermill Center, an ongoing series that fosters engagement between the community and the center’s resident artists, will feature the work of Carlos Bunga, Marianna Kavallieratos, and Dom Bouffard on Saturday from 2 to 4 p.m. Visitors wishing to tour the center’s building and grounds can do so between 1 and 2.

Mr. Bunga, a Portuguese artist and 2017 Inga Maren Otto Fellow, creates architecturally scaled installations made from mass-produced materials such as cardboard, packing tape, and household paint. The maquettes resemble temporary shelters or colorful urban interiors that engage in a dialogue with the surrounding gallery space.

A choreographer and dancer from Athens, Greece, Ms. Kavallieratos first met Robert Wilson, founder and artistic director of the center, in the 1990s and has maintained a physical and creative presence there since then as a mentor and teacher. 

Ms. Kavallieratos and Mr. Bouffard, who is a musician and composer from London, are collaborating on “Death,” a performance that incorporates movement, sound, color, and real-time digital media. The work-in-progress will be presented at the Watermill Center and, on Sunday at 7:30 p.m., at the Center for Performance Research in Brooklyn.

The Watermill Center events are free but reservations are required. Tickets for the Brooklyn performance are $12 in advance, $15 at the door.

An hour with the retired photojournalist Hugh Patrick Brown is an hour entertainingly spent. While his career as a photojournalist for Time Life took him to some far-flung and unusual locations, Northern Ireland, China, and Cambodia among them, during a conversation at his East Hampton residence he recalled his first assignment for People magazine.

“They had shut down Life and started People, and within about six weeks they sent me to Ohio to photograph a chicken flying contest. Every year they mount these mailboxes open at both ends on a grassy hill, put the chickens in, and push them out with plungers. The stuff you remember. . . .”

Though only in his 20s when People launched, he had been a working photojournalist for five years. He majored in journalism at Wagner College and worked for the school newspaper. After graduation he attended the Army Officer Candidate School, and in April 1968 he went to Vietnam as an officer with the 1st Infantry Division.

After seven months as a platoon leader in the field, he became a company commander at Lai Khe, a base 35 miles north of Saigon. With a few months to go before his discharge, he went to work for The Hurricane, an Army magazine. “I was put in charge of a couple of guys who did radio interviews but they didn’t need supervision, so I was able to do whatever I wanted to do.” 

Though he went to Cambodia for a few days after the United States invaded that country, he spent most of his last few months in the military in Saigon, where he met many civilian journalists. He separated from the service there and went to work as a stringer for Time magazine.

After returning to the U.S., he was hired by Time Life, where he remained until the early 1990s. He worked as part of the press corps at the Nixon White House, “but I didn’t really like that, it was group journalism, everybody running at the same time, snap, snap, snap.”

Restless, he took off for Northern Ireland in 1972, spending the better part of three years there. “Freelance is kind of hand-to-mouth, but I was single, and it was fun.” While there he met W.H. Van Voris, who had earned his Ph.D. at Trinity College in Dublin and was writing a book. “Violence in Ulster: An Oral Documentary,” for which Mr. Brown took the photographs, was published in 1975. Asked if it was dangerous there, he said, “You had to be a little careful, but I spent seven months leading a platoon in the bushes in Viet nam, and that’s dangerous.” 

In 1981, Mr. Brown was sent by Fortune magazine to Guangzhou, China, to photograph a factory. One striking image from that assignment was shown at the Amagansett Library in September as part of an exhibition that covered 40 years of his work. Lit by daylight through a grimy window, that photograph of six workers kneading dough at a large wooden table has the look of a Vermeer painting.

In 1975 he photographed E.O. Wilson, an American biologist known for his work with ants and for his book “Sociobiology: The New Synthesis,” for which some called him Darwin’s heir while others said his thesis echoed Nazi doctrines on eugenics. 

Suspecting the impending controversy, Mr. Brown photographed the young scientist working with ants in his lab. Published in People, it turned out to be the only such photograph. “It’s my money maker. Everyone wants my picture of him, so every couple of months I get another check for 11 dollars and change.” 

Other assignments for People led to his spending a week with the basketball star Kareem Abdul-Jabbar when he moved from the Milwaukee Bucks to the Los Angeles Lakers. He also photographed Muhammed Ali when he was training for his fight with Larry Holmes at Deer Lake, Pa. Other notable portraits have included Seamus Heaney, Frank Langella with Edward Gorey, and Candace Bergen.

Images of conflict range from snipers in Derry to the Duran-Leonard fight. Among his more pastoral subjects are a river scene in Hue, Vietnam, shallow-draft boats in China tied up to a huge ship, seagulls at Main Beach in East Hampton, and several photographs of Thai children.

Mr. Brown has reunited annually with members of his Vietnam platoon for the past 23 years. Asked what could bond them more than the experiences they shared, he said, “After a few years, you know what happens? We tell all our war stories, we get tired, and we go to bed. Our wives are more social, they wind up organizing it.”

He returned to Vietnam in 2008 with his wife, Penny, and two members of his platoon and their wives, and found the country much changed. “The average age is 22 to 24, so most people don’t remember the war.” A highway he had traveled during the war that had been flanked by rice patties and water buffalo is now suburbia, and the area around Lai Khe was unrecognizable.

“We were driving up Highway 13, and at one point we stopped and one of my friends got out of the car and started talking to this Vietnamese man. ‘Were you V.C.?’ he asked, and the man said, Yes.’ They had a long conversation about it.”

Robert Rheault, who appears in Ken Burns’s film “The Vietnam War,” was a friend of Mr. Brown. The head of special forces in Vietnam, Colonel Rheault left the military in 1969 after a controversial incident involving the execution of a suspected Vietnamese spy and became director of an Outward Bound program in Maine that helped Vietnam veterans suffering from post-traumatic stress disorder. 

Mr. Brown worked with Colonel Rheault at Outward Bound, taking photographs that were used in fund-raising. 

He said of a picture taken in the Tian Shan mountains of Uzbekistan with a group of Afghan veterans, “It was an interesting bunch of guys. We spent a week or two with them in Moscow and then Uzbekistan and then brought them back to the U.S. I did a piece on that trip for The Boston Globe.”

Ms. Brown’s mother bought the house they now live in 1946 and built a second one toward the rear of the property. “She deeded us this house and Dan, Penny’s brother, the house in back. Penny and I were both working in the city, so we rented it out during the summers and came out during the winters.” He decided to retire four years ago, and they have lived in East Hampton full time since then.

He belongs to the East Hampton Classic Boat Society, whose advertising and website he oversees. He doesn’t own a boat, and he admits to limited woodworking skills. “I scrape and I paint and I sand. And I crew.”

One photograph pinned to his study wall shows Mr. Brown in the Life office with Carl Mydans. Mr. Mydans photographed General MacArthur going ashore at Luzon in the Philippines; David Douglas Duncan, a combat photographer who became a close friend of Pablo Picasso; Alfred Eisenstaedt, another eminent photojournalist, who took the Life magazine cover of a sailor kissing a nurse on V-J Day in Times Square, and Fritz Goro, a noted photojournalist and science photographer. Mr. Brown wasn’t exaggerating when he called Life “the one publication where the photographers were the big guys, not the writers.”

Painting and Piano

The Artist Study in Southampton will present “Life’s Stages: A Collaboration,” an exhibition of paintings by Karen Kaapcke that will be on view from today through Nov. 16, and a reception and concert by Alan Moverman, a pianist, on Sunday from 5 to 7 p.m. A talk by the two artists will take place on Saturday afternoon at 3.

Ms. Kaapcke, a representational painter, and Mr. Moverman became friends after a chance meeting. As he followed her art, he sensed a musical aspect to many of her paintings. She, in turn, has been working for the past year on a series of paintings inspired by musical selections, among them works by Beethoven, Aaron Copland, and Bill Evans. 

Mr. Moverman’s concert will include compositions by those three, Schumann, Bach, Arvo Part, and Gyorgy Ligeti. 

Sculpture in Gansett

“Starbridges,” an exhibition of more than 20 sculptures by Robert Schwarz, an East Hampton artist, is on view at the Amagansett Library through Nov. 28. Olivier Bernier, an art historian, will discuss the artist’s work at a reception on Saturday from 5 to 7 p.m.

Mr. Schwarz’s constructions are three-dimensional mandalas made from wire, monofilament, aluminum, metal hardware, and, in some cases, fluorescent lights. He has likened them to “models of titanic spaceships or artifacts found in the depths of space — the unconscious.”

Art of Darkness

Jeff Lincoln Art and Design in Southampton is showing “Heart of Darkness,” an exhibition that examines the “dark sensibility” in art and design, through March 31. The show includes black and purple Aymara textiles and dark basalt and pyrite stone sculptures by Conrad de Kwiatkowski and bronze works by Thomas Houseago, a British sculptor. Also represented are John Chamberlain, the Haas Brothers, Jeff Zimmerman, Anna Karlin, John Eric Byers, Thaddeus Wolfe, and Wendell Castle.

Firestone in Paris

The Eric Firestone Gallery of East Hampton will present “Henry Chalfant: 1980” at Paris Photo, the international photography fair that will take place at the Grand Palais from next Thursday through Nov. 12. Mr. Chalfant is considered one of the most significant documentarians of New York City subway art of the late 1970s and 1980s.

The installation will include 18 monumental digital prints on Kodak metallic paper of graffiti-covered subway cars and eight of the original sheets of vintage hand-cut collaged prints. The prints illuminate Mr. Chalfant’s creative process. A short video about the photographer will also be shown.

For Holiday Show

Ille Arts in Amagansett has requested submissions for its 2017 Holiday Show, which will run from Dec. 2 through Jan. 15. Unframed photographs, drawings, paintings on paper, prints, and collages will be accepted at the gallery on or before Nov. 5, but they must not exceed 22 by 30 inches in size. The gallery will frame works uniformly at the artists’ expense. More information is available by emailing [email protected]. 

Call for Works

The White Room Gallery in Bridgehampton has issued a call for submissions to “What the Hell?” — an exhibition that will take place from Nov. 16 through Dec. 3. Artists have until Friday, Nov. 10, to submit up to three images to art4thewhiteroomgallery@ gmail.com. Detailed information can be found on the gallery’s website.

New York’s Print Week, which included the fall sales of editioned works on paper and multiples at the major auction houses early last week and at the International Fine Print Dealers Association’s annual fair over the weekend, featured new records and high visibility for artists associated with the East End.

On Oct. 23, “Campbell’s Soup I,” a complete set of 10 Andy Warhol “Soup Can” screenprints from 1968, broke a record for any set of that subject, selling for $850,000, well above its estimate of $500,000 to $700,000, to a British art dealer at Sotheby’s. On Oct. 24, at Christie’s, a set of 10 Warhol “Flowers” screenprints went for $852,000. A full set of six “Dollar Sign” Warhol prints sold at Christie’s for $324,500.

Another Warhol portfolio of “Soup Can” prints, “Campbell’s Soup II” from 1969, was auctioned at Christie’s but was broken up into single lots. These sold in a range from $16,250 for “Tomato-Beef Noodle O’s” to $37,500 for the more iconic varieties such as “Scotch Broth” and “Chicken ’N’ Dumplings.” The prints were from the estate of Giuseppe Rossi, the surgeon who saved Warhol’s life after Valerie Solanos entered his studio and shot him through the lungs, esophagus, spleen, liver, and abdomen in 1968. The artist was pronounced dead at the hospital, but the doctor revived him after massaging his heart and removing his spleen and part of his lung in what has been considered a miraculous effort. Warhol gave Dr. Rossi the portfolio along with other prints as a token of his gratitude, and the two remained friends long after his recovery.

Single Warhol prints also led auction sales, with a “Marilyn” selling above its $220,000 estimate at $287,500 at Sotheby’s and a “Moonwalk” selling for $212,500 at Christie’s.

Roy Lichtenstein’s “Nudes” series was also popular last week. “Nude With Blue Hair” sold for $552,500 at Chris­tie’s, and a “Nude With Yellow Pillow” relief print broke a record for this subject, selling for $250,000 at Sotheby’s.

The print fair opened to the public last Thursday in its new location at the Javits Center’s River Pavilion. Some of the East End artists with work on view were Vija Celmins, John Chamberlain, Chuck Close, Willem de Kooning, Max Ernst, Childe Hassam, Joan Mitchell, Robert Motherwell, Enoc Perez, Elizabeth Peyton, Dan Rizzie, James Rosenquist, Richard Serra, Billy Sullivan, and Donald Sultan, along with more Lichtensteins and Warhols. Tara Donovan, who recently had a “Platform” exhibition at the Parrish Art Museum, was featured at the Tamarind Institute’s booth with a grouping of her index card matrix prints.