While it is unlikely that anyone will ever replicate the perfectly assembled mix of ur-modernism that Edward Albee achieved with his collection of paintings and primitive sculptures, those who might want to try can bid on the sale of his estate on Sept. 26 at Sotheby’s in Manhattan.

The playwright, who died last September, directed that the sale benefit the Edward F. Albee Foundation in Montauk, which provides residencies for writers and artists. The Pulitzer Prize and Tony Award-winning author of such seminal works as “The Zoo Story” (1958), “Who’s Afraid of Virginia Woolf?” (1962), “A Delicate Balance” (1966), “Three Tall Women” (1991), and “The Goat, or Who Is Sylvia?” (2000), started the foundation in 1967 from the proceeds of “Who’s Afraid of Virginia Woolf?”

In the auction catalog, Jakob Holder, executive director of the foundation, writes that Albee was taken to Montauk in 1964 by the actress Uta Hagen, the original Martha in “Virginia Woolf.” He bought a cottage on a bluff and a barn, which would become the William Flanagan Memorial Creative Persons Center, named for a partner of his. He renovated the space to include two studios and five bedrooms. Some 1,000 artists and writers have since been granted one-month summer residencies there.

Albee had a wide circle of artistic friends, including Lee Krasner, who served on the board of his foundation. The more than 100 artworks in the auction are from his TriBeCa loft, and fulfill his vision of “art that is about art.” They include pieces by Krasner, Wassily Kandinsky, Jean Arp, Kurt Schwitters, Jack Youngerman, Milton Avery, Pablo Picasso, Richard Serra, Marc Chagall, Elizabeth Murray, Saul Steinberg, Louise Nevelson, Donald Sultan, Esteban Vicente, Alfred Leslie, and John McLaughlin, in addition to several African and Oceanic sculptures, which inspired many of the earlier modern artists.

Mr. Holder writes that Albee thought of his collecting as “accumulating”  — satisfying a primary utilitarian function — “to satisfy his desire to successfully communicate in ways where humans are prone to fail.” Not a casual observer, he chose challenging objects that he also deemed useful. “The merely decorative held no interest.” He tended to cultivate works of art the way he chose his friends.

Sotheby’s has compiled some of Albee’s musings on art: “There is something that makes something art. It doesn’t have anything to do with anything except the piece itself.” Sculpture, he said, “mutates faster than any other art form I know of.”

A fan of Milton Avery, Albee began collecting his work directly from the artist when his paintings were still affordable. Avery’s “Two Nudes,” a work that inspired Albee to go “industriously back to my desk to write another play so that I could get some more,” has an estimate of $400,000 to $600,000. “Meditation,” a painting of a seated nude woman, is expected to fetch $2 million to $3 million.

Some works, like an early Jack Youngerman collage, have local provenances from galleries such as the Drawing Room in East Hampton. The 2013 purchase is evidence of an eye that was always searching and finding things to acquire.

Albee was not known to sell things from his collection, but Bill Katz, a friend, relates in the catalog that he once had to sacrifice a large Henry Moore bronze that graced the Montauk property to settle a tax debt. Mr. Katz says the playwright did not buy art as an investment, but understood that many of his pieces were of significant value and worth selling to ensure the future of his foundation. Works not in the sale will become part of the foundation’s collection.

Although there are clear multimillion-dollar masterpieces in the mix, the bulk of the Albee sale consists of more moderately priced small pieces or works on paper, many with estimates below $5,000. These include works by Burgoyne Diller, Vicente, Nevelson, and some Picasso etchings. Objects in the five-figure range include a Frank Lloyd Wright window and a Tiffany chandelier, in addition to several artworks. The catalog is on the Sotheby’s website.

Works from the sale will be on view from Sept. 20 to Sept. 25 from 10 a.m. to 5 p.m.

Delaney Colaio was one of 3,051 young people who lost a parent on Sept. 11, 2001; she was 3 years old at the time. Now 18 and a freshman at Quinnipiac University in Hamden, Conn., she is a co-writer and co-director of “We Go Higher,” the first documentary by and about the surviving children of the 9/11 attacks.

Ms. Colaio, whose family has deep roots in Montauk, was inspired to pursue the project when she met Sara Bordo, an entertainment industry executive who founded Women Rising, an organization whose mission is to create content that empowers women and girls.

“After meeting Sara and seeing how she takes really tough social issues and turns them into positive stories, it inspired me. I had shared one of my own difficult experiences in a documentary for ProtectHer, a sexual assault curriculum founded by Sara and Alexis Jones, and that experience left me feeling I was finally able to give some of my pain a purpose.” 

Around the same time, she was spending two months at home after her fourth concussion, suffered as a soccer player in high school, so she had an opportunity to think about the project. “I felt I wanted to give to 9/11 kids an opportunity to tell their stories in their own way.”

The crew recently finished its third month of filming and has interviewed 12 survivors. Now that Ms. Colaio is at Quinnipiac, the rest of the team will continue filming for several weeks. 

“I wanted to figure out a way to incorporate anybody who was interested,” said Ms. Bordo, who is directing the film with Michael Campo. “We’re interviewing around 35 more kids the week of Sept. 11, when we’ll also be shooting a series of shorts. By the end we expect to have around 55 participants.”

The “We Go Higher” team partnered with Tuesday’s Children, a nonprofit formed after the attacks and dedicated to serving communities altered by acts of violence. “They helped us get the word out by email to their database,” said Ms. Colaio. “The 9/11 community is quite large, and people definitely talk a lot. We’re getting about 10 new kids a week. It’s incredible to see how many people want to be a part of this.”

While the age range of those interviewed is 16 to 52, there are many similarities among them, according to Ms. Colaio. “The one thing we didn’t know going in is that these kids all feel they don’t want their suffering to victimize them anymore. They want to be the people who are helping other people.”

“As 9/11 kids, the attention of the entire world was put on us and the families at that moment. The amount of love and support we got is insane compared to that of anybody else who loses someone. I think every one of these kids has dedicated some part of their lives to service because of the amount of support they received growing up.”

Ms. Colaio lost her father, Mark, and two uncles, Stephen Colaio and Thomas Pedicini, all of whom worked at Cantor Fitzgerald on the 104th floor of the North Tower. At one point, the Department of Justice asked members of the Colaio family if they wanted to provide a statement for the five men imprisoned at Guantanamo Bay for their planning of the attacks.

“Growing up, I would ask myself who these people were who took away my dad. Their punishment, if our ‘side’ won, would be the death penalty. After sitting with that in my stomach for a bit, I felt catalyzed to take action in a different way. I would never want to be part of something responsible for killing five people.” 

“What kept resonating in my brain was that the difference between me and those people is that I was born in a different place. I feel bad for them, too. They were kids once. For me and the other 9/11 kids, this is not a politically driven project in any way, shape, or form.” 

“These kinds of incidents keep happening, and will continue to, and the only thing you can control is your response. So the point of the film is to shed light on that, how to respond and grow, and to help people who are now going through what we went through 15 years ago.”

Victor Colaio, her grandfather who lost two sons, Mark and Stephen, said that he and Ms. Colaio’s mother discussed the project at great length before it was undertaken. “The entire family is fully supportive of my granddaughter, without a doubt. I’m very proud of her.”

Mr. Colaio first came to Montauk in 1984 and moved there permanently in 1994. Now 81, he has just begun a course in taxation at Villanova Law School. “I don’t know which is going to last longer,” he said, “me or the course. Taxation is my background. So I’m hoping to get something out of it. My wife passed away a couple of years ago, and there was such a void I had to do something mentally to get myself back again.”

Mark Colaio bought his house in Montauk before Delaney was born, and she has spent every summer there since. “Montauk has been my favorite place in the entire world, and it was my dad’s favorite place. It just means the world to me to be here. It’s a crazy house, there are like 20 teenagers who are all family members, all their parents, and we all come out here.”

Ms. Bordo hopes to have at least a rough cut of the feature wrapped by the end of the year for submission to film festivals. “TriBeCa is definitely our dream festival because it arose from the dark streets of Lower Manhattan, and we would feel very blessed and lucky to be a part of that in some way.”

On the evening of Sept. 10, the filmmakers will launch an Indiegogo crowdsourcing campaign to help raise money to complete the production. “Over the last couple of months we’ve realized how many people want to see these stories told,” Ms. Bordo said, “and it’s from the heartbeat of that community we have decided to do the campaign, so that anybody who wants to champion these kids and their stories can participate.”

More information and links to the campaign can be found at wegohigherfilm.com.

The exterior south-facing wall of Water Mill’s Parrish Art Museum is a blank canvas that few artists have attempted to fill. The surface is vast, and the primary audience, occupants of the cars passing at a significant distance on Montauk Highway, might not be able to make out the details in even a billboard-sized composition.

The visual field is also dominated by a deep meadow of native plants. Look how it swallows up Roy Lichtenstein’s two “Tokyo Brushstroke” sculptures. One stands 33 feet high, the other 19 feet. Yet they are two stray reeds in the landscape.

As someone who immerses himself up to his neck in hurricane-size ocean waves, Clifford Ross is not one to back away from a challenge. Rather, he seems to take limitations as a point of departure. In so many ways, he has taken his residency at the Parrish as an invitation and opportunity to push his art and the museum’s structure to their furthermost boundaries.

His mixed-media installation “Light/Waves,” installed both inside and outside the museum, is part of the Parrish’s “Platform” series. Each year, the museum invites one or more artists to respond to the site, including the building, the property, and the regional environment, depending on their interpretation. 

Mr. Ross’s installation includes two 50-foot-wide LED walls on the outside of the building facing the highway, and an 18-by-18-foot LED wall inside, as well as a set of photographs of hurricane waves, printed on multi-panel maple surfaces to form 12-by-19-foot triptychs of a single image.

Each exterior screen is about five feet longer than a school bus. Together they occupy a significant swath of the architectural “eye wash” of the Parrish’s concrete cladding without overwhelming it. A third LED wall would have fit easily, but the multiple changing images might have become confusing. In its current state, it is easy to recognize what the lights are communicating, and there is enough time to take in both panels, even constantly in flux.

Each light is a component that makes up a rather abstract image once close enough to see them at work. Viewed in motion from the highway, the waves look like real projections, reminiscent of the Hollister clothing company’s New York City store, with its facade broadcasting a feed of California surfers.

Up close the dots are visible as entities in formation, not even as components of an image but individual marks that just happen to flow together at times, forming patterns we can interpret as waves, like colored sand or some other seemingly random set of elements that combine to produce something recognizable. It is when this trick is revealed that the work becomes really interesting. 

Mr. Ross has always played with the duality of abstraction and realism. He devised a special camera, modifying an aerial camera used by the military, to take exceptionally high-resolution images of a mountain he fancied in Colorado. Their resolution is so exact that a thumbnail-size section of a 6-by-10- foot image can be blown up essentially to the size of its parent without losing clarity. Later, he broke down some of these images into fragments, turning them into monochromatic blocks and reuniting them into a nonobjective whole. Then he animated some of them and put the result to music composed by Philip Glass. 

It is that kind of medium-bending approach that has been employed here. Light is used in a dynamic format to communicate information that is read as waves by the eye and brain. Post-formalist in intent, the resulting piece asks questions similar to those Picasso raised when he composed an object out of shaped pieces of sheet metal, which we recognize as a guitar but which has no direct resemblance to one. Or when Chuck Close trusts his viewers to make the same leap as they process his blips and blobs of paint on a grid into something that can be read as a portrait.

Although the LED pieces are probably the sexier of the two, the gigantic wood-grain photo prints are magnificent and formidable. Mr. Ross takes the images while he is in the surf, tethered to someone on shore so he is not carried out to sea. The resulting perspective is immersive and intimidating, much greater than human scale. Looking at someone looking at the artwork, the urge to say “Watch out!” as a giant wave barrels overhead can be hard to control. What helps is that the maple grain shows through the black-and-white print, underpinning its status as an art object. That the grain “talks to” the very visible grain in the museum’s architectural wooden benches is a delightful byproduct, a way of tying the work even more closely to its environment. It also doesn’t hurt that the real ocean is just a mile away.

The artist told The Star in 2011 that his photographs in this series were printed in black and white because “form is the essential truth of a wave, not color, and in photography form is best expressed with the absence of color. Color was a distraction with the hurricane wave images.” In contrast, the LED images are in color, but in their abstraction they are completely about what form they take. It appears he discovered how to have it both ways.

The installations are on view through Oct. 15, and will be missed when they are gone. The Parrish is presenting several related programs, including an interdisciplinary symposium on water-related themes on Sept. 22. Panels, talks, and workshops will address the inspirational and natural qualities of water, in addition to the perils created by climate change.

A benefit sale of art at Ashawagh Hall in Springs this weekend not only brings together past and present members of the East Hampton artists community but supports an enduring legacy for two of its longtime members.

Beginning tomorrow, the exhibition space will feature a sale of paintings and drawings from the late Priscilla Bowden’s estate. Although mostly her work, it will include pieces by Robert Dash, Jack Youngerman, Jane Freilicher, and Tony Stubbing.

The sale was organized by Helen Harrison, director of the Pollock-Krasner House and Study Center, and the proceeds will go to the Brooks-Park Heritage Project. The project is responsible for the restoration of the house and studios of James Brooks and Charlotte Park, a couple who lived on Neck Path in Springs for decades after moving there in the 1950s. Mr. Brooks died in 1992; Ms. Park in 2010. The Town of East Hampton acquired the property using the community preservation fund.

Ms. Bowden, who died last year, was known for her landscape paintings. With a focus on bay and pond settings, she captured the area’s waterways as well as those farther afield. She was married to Jeffrey Potter, a neighbor of Jackson Pollock who compiled the oral history “To a Violent Grave” about the later years of the artist’s life. A few paintings from Ms. Bowden’s estate were donated to the Pollock-Krasner House and Study Center.

As Ms. Harrison said in a short film by Max Scott to be shown at the exhibition, abstract art is about thoughts and feelings. The environment a work was created in can offer clues to what the artist was thinking and provide a sense of who the person was. “It humanizes it. In the museum [the art] is detached. You don’t know who it came from or where it came from.” 

The East End is fortunate to have so many exhibition spaces and institutions devoted to art, but its true legacy lies in the area’s role in inspiring so much of the exalted art produced in the mid-to-late 20th century. The Brooks-Park property is one of the few residences and studios from that period that still exists mostly as it did during their lifetimes.

Peconic Historic Preservation, a non-profit organization, is now administering the restoration and the site’s transformation into a community space. The grounds have ample space for recreational activities, and parking. Fund-raising efforts have yielded about $40,000 so far, according to Ms. Harrison.

The site includes a former residence, which was moved from Montauk via barge in 1956, and two studios. The studio once used by Brooks is of modern construction, a two-story-high barn-like structure with a loft-like interior and high windows to let in tons of light. Park’s studio was once the Wainscott Post Office.

Although Park’s studio has been practically untouched since the day she died and will be preserved that way, Ms. Harrison, who is helping with the project, said the place should not become a shrine. 

“I always encourage people who come to the Pollock-Krasner House to come and get inspired to do something they wouldn’t have done if they hadn’t been there.” Artists have slept in the studio there and made paint by grinding stones they found on the property, among other interpretations of their experience. She envisions the Brooks-Park property as a similar site and is encouraging those who are spearheading the restoration to think along the same lines. The buildings could be used for exhibitions, film screenings, lectures, performances, and related activities.

Those who would like to help have been encouraged to donate or purchase one or more of Ms. Park’s works, which are mostly priced at $600 or less. They include paintings, watercolors, and even some charming compositions she drew and painted on old checks. 

The show will be on view tomorrow through Sunday with a reception Saturday from 5 to 7 p.m.

As summer winds down, one of the South Fork’s many “must” events happens tomorrow at 8 p.m. at Guild Hall in East Hampton when the musician Taylor Barton and the guitarist G.E. Smith present the next in their “Portraits” series, featuring Mr. Smith in performance and conversation with Billy Squier. 

“Portraits” offers a rare opportunity to see and hear a renowned artist in an informal and intimate setting. Mr. Smith and Mr. Squier, who has released more than a dozen studio and live albums including 1981’s “Don’t Say No” and, the following year, “Emotions in Motion,” will sing, play guitars, and talk about the latter’s career in music. 

Those two albums and 1984’s “Signs of Life” are not only Mr. Squier’s most successful releases, each was among the biggest of the decade, marrying catchy hard-rock riffs and guitar solos with a pop melodicism in a way that saturated radio and MTV for several years with hits like “The Stroke,” “In the Dark,” “My Kind of Lover,” “Emotions in Motion,” “Everybody Wants You,” “Learn How to Live,” and “Rock Me Tonite.” Thirty-six years later, “Lonely Is the Night,” from “Don’t Say No,” remains an irresistible and anthemic 4 minutes and 40 seconds that still conjure, to this listener, an undiscovered treasure from Led Zeppelin circa 1976. 

Taking in the early evening stillness with Mr. Smith in his Amagansett house last week, Mr. Squier, who lives in Bridgehampton and New York City, recalled a recent listen to “Don’t Say No,” of which he is planning a vinyl reissue. “I was listening to the test pressing,” he said, “and what struck me was that this thing starts, there are all these hits on it, and I’m thinking, ‘This is really good.’ But then it shifts into the non-hits, which have the same sensibilities, and I thought, ‘Now it’s getting really good!’ It struck me in a very different way, because I’m thinking, these songs may not be hits, but the performances! They’re bigger and more exciting.” 

“ ‘Too Daze Gone’ is a big-sounding record,” Mr. Smith said of the deep track on “Don’t Say No.” “Can you remember, at the time, did you like them all, like they were all your babies?”

“Oh yeah,” Mr. Squier said. “That’s a one-song record to me, front to back. No filler.” 

“Don’t Say No” was, he said, the culmination of a years-long effort to forge a unique identity, during which he honed his guitar, vocal, and songwriting chops while playing in bands based in Boston and New York. “I was trying to figure out where I belonged,” said the native of Wellesley Hills, Mass. “I had a lot of influences, ranging from AM radio growing up, through the Beatles and the Stones and the Who, which were very pop-oriented, and into Eric Clapton and Led Zeppelin and heavier, more blues-oriented things. I was trying to make it a style that was somewhat broad but also identifiably me, as a guitar player.”

But before stardom as a solo artist, “I had always wanted to be in a band,” like the groups that had exploded on the scene in his youth. “A band was the gang I always wanted to be in, and I saw myself on stage left as the guitar player. But long story short, I could sing, and the bands I was in, the singers weren’t that good, or didn’t care that much.” 

The late Bill Aucoin, who managed the hard-rock group Kiss, wanted to sign Mr. Squier, and acceded to the artist’s desire to assemble a group. That band was Piper, which released two fine but underappreciated albums in the mid-1970s.

“As we started to get attention and do better, some of the other guys wanted to be more involved, which is understandable,” he said. “But I felt, because I had a few years and a little more experience on them, that they had not progressed to the point that I had. I felt that to start doing some of their songs, and letting them do stuff, was going to be a step back. No disrespect, because they were very good, and we came very close to cracking it, but I just felt it’s not going to go in the right direction if we make this a democracy. So I dissolved the band.” 

Then, he said, “I found myself in the ironic position of realizing that in a sense, I had been trying to do the wrong thing. Really, what I was going to have to do to be successful was be a solo artist.” 

Mr. Squier’s recordings nonetheless sound like those of a tight rock ’n’ roll band, with the guitarist Jeff Golub, the keyboardist Alan St. Jon, the bassist Mark Clarke, and the late drummer Bobby Chouinard as its core players. “In a sense, nothing really changed,” he said, “except it was now clear that nobody had to worry about who was who in the band. But I always wanted great players who could play together and could be part of the sound that I wanted to create, and that worked for a long time.”

The front man, however, managed to fill both the lead vocalist and lead guitarist role in his band, to a large extent, performing many of the guitar solos. “Everyone always assumed that it was the other guitar player, that I was the rhythm guitar player, but that’s where I started,” he said. “Because I’m a songwriter too, I’m not doing 5-minute solos; I’m doing 30-second solos.” 

His favorite of them all, he said, is the 17-second solo in “Whadda You Want From Me,” from “Don’t Say No.” “It says what it needs to say,” Mr. Smith observed. 

Mr. Squier’s many talents will be heard tomorrow. “Not to give our show away, but Billy’s going to be playing some serious lead guitar,” Mr. Smith said. “It’s kind of like when we are sitting here and there’s no one here. We’ll play two songs and then stop and talk for a couple of minutes.”

“But there’s plenty of music, and it’s loud,” Mr. Squier said. “It’s not two acoustic guitar players sitting around talking about lyrics and stuff like that.”

The musicians grew more animated as they contemplated the show. “This is really good, it’s worth seeing,” Mr. Smith said. “The guy’s got great songs! Come to the show!” 

Tickets for “Portraits With Billy Squier,” at 8 p.m. tomorrow, are $55 to $150, $53 to $145 for members of Guild Hall. 

“Angels in America: Millennium Approaches,” part one of Tony Kushner’s Pulitzer Prize and Tony Award-winning play, will be presented at Guild Hall tomorrow at 7 p.m. in an encore screening of a new staging by London’s National Theatre.

Set in America in the 1980s in the midst of the AIDS crisis and the conservative Reagan administration, the play focuses on life and death, love and sex, heaven and hell. Starring Andrew Garfield, Denise Gough, Russell Tovey, and Nathan Lane as Roy Cohn, the new staging is directed by Marianne Elliott, who won a Tony Award for “War Horse.” Tickets are $18, $16 for members.

On Tuesday, the JDT Lab will present a reading of “Descent of the Dolls,” an epic poem that retells the film version of Jacqueline Susann’s 1966 “Valley of the Dolls,” at 7:30 p.m. The work is a collaboration by Jeffrey Conway, Gillian McCain, and David Trinidad, three acclaimed contemporary poets. The work’s publisher, BlazeVox, has described the poem as “Dante’s ‘Inferno’ meets ‘Valley’ in this collaborative descent into a Hollywood camp classic.”  

The program is free, but reservations are required.

A reading of “Are You Now or Have You Ever Been?” — Eric Bentley’s dramatic recreation of some of the House Un-American Activities Committee hearings of the late 1940s and 1950s — seems especially relevant during today’s political climate, and when performed one time only by James Earl Jones, Matthew Broderick, Harris Yulin, Peter Riegert, Paul Hecht, Richard Kind, Mercedes Ruehl, and another 20 or so actors, it sounds like the hottest ticket on Broadway.

Except it isn’t on Broadway. With Mr. Jones making his first appearance on an East End stage, as Paul Robeson, it’s the hottest ticket in East Hampton, and, not surprisingly, a sellout. It will be performed Saturday at 8 p.m. at Guild Hall.

Josh Gladstone, the artistic director of the venue’s John Drew Theater, pointed out that he reserves one slot for Mr. Yulin every summer. The actor, who is also directing the production, was familiar with the play from his days at the Los Angeles Classic Theater, which made radio broadcasts of some of its productions. 

“When I looked up the play on the internet recently,” Mr. Yulin said, “lo and behold, there I was on the recording, along with James Earl. Which I had completely forgotten about.”

Mr. Gladstone said that once other actors heard Mr. Jones was participating, they wanted to be involved as well. “Harris really hit it. He got these other great actors, like Peter Riegert, who I don’t think has done anything out here before. We also have a who’s who of talented local actors supporting this thing.”

Mr. Yulin said there might be a bit of staging, and some of the actors might dress the part to an extent, but everyone will read from a copy of the script.

The Beales’ Books

“Reading Grey Gardens,” an exhibition of photographs by Mary Ellen Bartley, will open tomorrow at the Drawing Room in East Hampton and continue through Oct. 15.

Ms. Bartley is known for her photographs inspired by the physical and formal properties of books. When she learned earlier this year that Sally Quinn was selling Grey Gardens, the longtime residence of Edith Beale and Little Edie Beale, she asked permission to document the Beale library.

The books, which date from the 1890s to the 1960s, were photographed against a neutral gray background. The images testify to the damage caused to the volumes by the passage of time and the salty, humid air, adding another layer of poignancy to the Beales’ story.

Reflecting on Migration

“Walking the Walk,” an installation by Rosemarie Schiller, will be on view at Art Space 98 in East Hampton from tomorrow through Oct. 9, with a reception set for Saturday from 5 to 7 p.m.

Ms. Schiller has described the piece as “a visual commentary in three parts on migration and today’s immigrants.” A large group of smoke-fired clay feet deployed in a long “tribal” walk is dedicated to immigrants who have experienced real hardship and rejection in recent years.

 A second component, a collection of smoke-fired clay masks assembled on two metal panels, acknowledges ancestors who have migrated elsewhere. A text spread over three panels, reflecting the voice of a small child forced to leave the only home she ever knew, completes the work.

Dan Rizzie Leads Off

“Art/History/Amagansett,” a series of talks organized by Ellen T. White about art, artists, and cultural institutions on the East End, will open with a conversation between the artist Dan Rizzie and Randy Lerner, a collector, on Saturday at 6 p.m. at the Amagansett Library. 

The second program, “The Art of Collecting on the East End,” which will take place Sunday evening at 6, will feature Sara De Luca and Kathryn Markel, gallerists, and Norman Brosterman, a collector and dealer, in a discussion moderated by Janet Goleas, an artist, curator, and critic.

Subsequent programs will feature Roger Sherman and his award-winning documentary “Alexander Calder” (Sept. 16); Carol Steinberg, a specialist in art and entertainment law (Sept. 17); Andrea Grover, Guild Hall’s executive director, and Ned Rifkin, a former museum director (Sept. 23), and Neil Leifer and Walter Bernard with “Portraits of a Lady,” their documentary about Sandra Day O’Connor, the retired associate justice of the Supreme Court (Sept. 24).

All programs are free, but space is limited and reservations are required.

New Artist Collective

Seven East End artists have formed the North Fork Art Collective and opened an exhibition and workspace at 19 Front Street in Greenport. Emma Ballou, a painter, and Scott Bluedorn, a mixed-media artist, both from the South Fork, have joined with the North Fork artists Kara Hoblin, Madison Fender, Kelly Franke, Jeremy Garretson, and Peter Treiber Jr., in part to strengthen the ties between the two communities.

Studio Tour

A self-guided tour of the studios of 10 abstract artists from the South Fork will take place Saturday between 10 a.m. and 6 p.m. Participating artists are Perry Burns, Don Christensen, Denise Gale, Barbara Groot, Elaine Grove, John Haubrich, Janet Jennings, Dennis Leri, Jane Martin, and Athos Zacharias.  

Tickets and maps for the tour, which has been organized by Ms. Groot and Mr. Haubrich, are available at Ille Arts in Amagansett, the tour’s sponsor.

Audrey Flack Gallery Talk

Audrey Flack, one of the pioneers of photorealism, will present a gallery talk devoted to her work and to “From Lens to Eye: Photorealism 1969 to Today,” the current exhibition of which it is a part, tomorrow at 6 p.m. at the Parrish Art Museum in Water Mill.

A longtime resident of East Hampton, Ms. Flack’s six-decade career has encompassed painting, sculpture, and photography. The critic and curator Robert C. Morgan, writing in The Brooklyn Rail, praised her work for an “exactitude, bravura, immanence, and eccentricity unlike anything painted in the history of Modernism.”

Tickets are $12, free for members and students, and reservations are essential.

Carolyn Conrad in Cutchogue

Alex Ferrone Gallery in Cutchogue will present “Perceptive Dimension,” a two-artist exhibition of photographic series by Carolyn Conrad and Scott Farrell, from Saturday through Oct. 8. A reception will happen Saturday from 6 to 8 p.m.

Ms. Conrad, who lives in Sag Harbor, combines painting, drawing, sculpture, and photography in her recent work. She begins by creating iconic architectural structures from clay and wood, then assembles them into rural scenes. Studio lighting and painted or drawn backdrops imbue the austere forms and compositions of the final photographs with an aura of mystery and timelessness.

Mr. Farrell, who lives in Huntington Station, photographs the weathered surfaces of boats in dry dock, which yield abstracted images of landscapes and coastlines.  

At Harper’s Apartment

Harper’s Books will present “Rose Garden,” a solo exhibition of seven weavings by Margo Wolowiec, from next Thursday through Oct. 26 at its Manhattan location, Harper’s Apartment, 51 East 74th Street, Apartment 2X. A reception will be held next Thursday from 6 to 8 p.m.

Ms. Wolowiec obtains photographs from the internet, then prints out and arranges her selections into checkered formations that she transfers onto polymer yarn. The threads are then woven by hand and patched together on a wooden floor loom into compositions that accentuate and distort her sampled material.

Group Show at Kramoris

An exhibition of work by Peter Lipman-Wulf, Franklin Engel, Bob Rothstein, and Isabel Pavao, will open today at Romany Kramoris Gallery in Sag Harbor and continue through Sept. 28. A reception will take place Saturday from 5 to 6:30 p.m.

Mr. Lipman-Wulf’s watercolors, painted in Switzerland while he was a refugee from World War II, have a “hopeful, luminescent quality,” according to the gallery. Mr. Engel’s expressive handling of paint agitates his East End scenes. 

Mr. Rothstein captures Montauk’s fishing boats in vibrant collages, while Ms. Pavao’s mixed-media works take nature into the realm of abstraction.

Photographs in Gansett

“Now and Then,” an exhibition of photographs by Hugh Patrick Brown, will open tomorrow at the Amagansett Library with a reception from 5 to 7 p.m. and remain on view through Sept. 30.

Mr. Brown worked for many years as a photojournalist, starting out as a stringer for Time magazine in Vietnam. His work not only includes war zones, the corporate world, celebrities, overseas assignments, but also his own passions, among them sailing, birds, landscapes, and portraiture.

New Lecture Series

The Pollock-Krasner House and Study Center and the Stony Brook Southampton Library have organized “Art in Focus,” a series of three free lectures to be held at the library, starting Tuesday at 7 p.m. with “Conserving Jackson Pollock’s Alchemy,” a talk by Carol Stringari, a conservator at the Guggenheim Museum, and Susan Davidson, a senior curator there.

On Sept. 26, Charles A. Riley II, a writer, curator, and professor at Baruch College/City University of New York, will discuss “Art and the Jazz Age,” and Katy Siegel will talk about the 2017 Venice Biennale, where she co-organized the United States pavilion, on Oct. 10.

Call for Artists

The South Street Gallery in Greenport has issued a call for artists to participate in its annual “10X10=100” art show and sale for the benefit of the North Fork Environmental Council. More information is available by phone at 631-477-0021.

The Parrish Art Museum in Water Mill announced last week that it had acquired the entire holdings of the James and Charlotte Brooks Foundation, including the art and archives left to establish it.

The foundation was created by James Brooks and Charlotte Park, two leaders of the New York School of Abstract Expressionism and longtime residents of East Hampton. Mr. Brooks died in 1992 and Ms. Park died in 2010. 

After a full inventory of its new collection, the museum will begin work on a survey exhibition dedicated to the Brooks’s work and a related catalogue.

The couple began spending summers in Montauk during the late 1940s after visiting Lee Krasner and Jackson Pollock in Springs. After moving their hurricane-ravaged house by barge to Springs in 1956, they became part of the nucleus of the East Hampton artistic community. The styles they developed flowed directly out of their interactions with their neighbors and their own unique takes on abstraction.

Their house and studios are currently being restored and turned into a community center, The Brooks-Park Heritage Project. The property was purchased with funding from East Hampton Town’s community preservation fund, and the restoration is taking place under the stewardship of Peconic Historic Preservation, a nonprofit dedicated to protecting significant sites related to the region’s culture and history.

The foundation will dissolve after the Parrish assumes control. The museum stated in a press release that it will “draw upon the foundation’s assets to establish the James and Charlotte Brooks Fund, an endowment to provide support for research, care, and exhibition of works by the two artists, and to underwrite Parrish projects in modern and contemporary art.”

The museum has regularly exhibted the artworks of both artists as part of its permanent collection shows since moving into its new facility in 2012. Their work, often loaned to the Parrish by the foundation, has fit in well with the museum’s other holdings. Frederic M. Seegal, the museum’s board chairman, said,  “James Brooks and Charlotte Park each have a story to tell that, contextualized by the strengths of the permanent collection, together create a narrative that is both intellectually and visually compelling.”

The museum will accept 89 paintings, drawings, and prints by Brooks and Park. John R. Lane, a foundation trustee and the chair of its art committee, advised the museum on its selection. This group will “form the largest, most historically comprehensive and artistically absorbing holdings of their art anywhere,” according to the museum.

The foundation has recently donated 170 works by the artists to the permanent collections of 20 other American museums. The Parrish will sell a number of the gifts, with the foundation’s approval, to endow the James and Charlotte Brooks Fund.

Billy Sullivan and Kathy Rudin at Ille

Works by Billy Sullivan and Kathy Rudin are on view at Ille Arts in Amagansett through Sept. 12. Mr. Sullivan is known for a body of work that chronicles his world and the people in it, and the exhibition includes paintings, photographs, and drawings that range from atmospheric images of New York’s demimonde to bright pastels and watercolors that deftly capture moments in people’s lives.

Ms. Rudin’s work often combines text with photographs or drawings, with results ranging from biting social commentary to humorous disjunctions between text and image. Leonardo’s “The Last Supper,” for example, is affixed to a takeout menu from a Chinese restaurant with the caption, “They ordered in.” A drawing of Mama Celeste from the Celeste Frozen Pizza box is subtitled, “Was a bag man for the mob,” while Little Miss Sunbeam of white bread fame was “later diagnosed with bipolar disorder.”

Legal Issues for Artists

The East Hampton Arts Council and Volunteer Lawyers for the Arts will host “Legal Issues for Visual Artists: Copyright and Contracts,” a free presentation by Katie Wagner, executive director of the lawyers’ group, and Betsy Dale, a staff attorney, next Thursday from 6 to 8 p.m. at the Amagansett Library. 

Carol Steinberg, a lawyer who specializes in art and entertainment law and is a board member of the arts council, will moderate the discussion.

The East Hampton Arts Council was established to foster the economic value derived from promoting arts-related activities and businesses and to advise the town on issues concerning the arts.

Duncan and Burgos at Halsey Mckay

The Halsey Mckay Gallery in East Hampton is presenting through Oct. 15 a group show organized by Nicole Klagsbrun and a two-artist exhibition of work by Ernesto Burgos and Chris Duncan.

Ms. Klagsbrun has selected four artists who apply inventive approaches to unique materials. Anna Betbeze dyes, cuts, folds, sews, scorches, and otherwise transforms textiles. In Brandon Ndife’s work, found objects collide with materials typically used in construction. Martha Tuttle’s assemblages are made with layers of silk, wool, paper, hematite, wood, indigo, and logwood. Jessica Vaughn’s visual “interventions” in the urban landscape reflect on the sociopolitical narratives that define America’s cities.

Visual surprises and formal harmony characterize the seemingly disparate approaches to art-making of Mr. Duncan and Mr. Burgos. Mr. Duncan’s fabrics are bleached by months-long exposure to sunlight before being painted with saturated color in the studio. Mr. Burgos’s sculptures, made from cardboard, fiberglass, and aqua resin, appear weighty despite the lightness of the materials.  

Two at Rental Gallery

Two solo shows will open Saturday at the Rental Gallery in East Hampton with a reception from 6 to 8 p.m. They will continue through Oct. 31. 

Elsa Hansen Oldham will exhibit small-scale hand-embroidered works that draw from pop culture, history, and politics, often grouping tiny figures in tableaus that combine sophisticated humor and social commentary with deceptively simple imagery. (Picture, for example, samplers combining R. Crumb and R. Kelly or Marcel Duchamp with a urinal, or Kanye West and Sisyphus.)

The stylized forms of Geoff Mc­Fetridge’s paintings reflect in part his parallel career as a graphic designer. Of his paintings, which straddle the line between pattern and figuration, he has said, “Design language . . . is very accessible to me. My paintings are as much rooted in logos as they are in art history.”

Tim Conlon’s Trains

“Between the Lines,” a solo exhibition of new paintings and train sculptures by Tim Conlon, will open tomorrow and remain on view through Sept. 24 at Roman Fine Art in East Hampton. A reception will take place Saturday evening from 6 to 8.

The show features work from the artist’s “Blank Canvas” series, a collection of freight-train paintings that combine typography, abstraction, and trompe l’oeil to bring railroad logos, weathered metal and paint, and graffiti art into close focus.

In addition to the paintings, Mr. Conlon makes one-eighth-scale and G-scale trains, complete with long-vanished logos and graffiti.

On Representation

The new exhibition at the Karma Gallery in Amagansett, which will run through Sept. 10, engages perception and representation through the work of Duane Hanson, who was known for his hyper-realistic sculptures of ordinary people, and Dike Blair, who came to New York City in the late 1970s, when Hanson’s work was peripheral to the art world’s critical discourse.

Mr. Blair’s new oil paintings capture the banal and transitory details of everyday life with deadpan perception. In 1994, he took issue with a review of Mr. Hanson’s work by Michael Kimmelman of The New York Times in a text that concluded, “There is magic happening at the edge of representation, and this suggests to me that Hanson’s work was not, and is not, the ‘dead end’ that Mr. Kimmelman concludes [it is].”

Images of Water

“Water: The Element That Surrounds Us,” a show of work by five photographers, will open at the Tulla Booth Gallery in Sag Harbor with a reception tomorrow from 6 to 8 p.m. It will remain on view through Oct. 15.

Stephen Wilkes has photographed sites throughout the world, among them the crowded beaches of Coney Island and Santa Monica. Daniel Jones takes a painterly approach, creating pristine images usually devoid of people. 

By contrast, Herbert Friedman’s beach scenes are packed with bathers and their accouterments, including colorful umbrellas. Blair Seagram is drawn to the panoramas and dynamism of surfers, while Dawn Watson’s favorite subject is “the water . . . from Montauk to Westhampton.”

Nick Weber in Montauk

Paintings by the Amagansett artist Nick Weber will be on view at Boo-Hooray Summer Rental in Montauk from Sunday through Sept. 15, with a reception set for Sunday from 4 to 6 p.m.

Mr. Weber is a figurative painter of people and moody night landscapes, whose work has loosened up in recent years to the point where details are blurred or partially obscured by the free handling of paint and the buildup of surfaces. 

Southampton Artists Show

The Southampton Artists Association’s annual Labor Day show will be on view at the Southampton Cultural Center through Sept. 10, with receptions scheduled for Saturday from 4 to 6 p.m. and Friday, Sept. 8, also from 4 to 6. The exhibition includes painting, sculpture, photography, and works on paper.