“Layer it on, you know?” were the last words of Justin Lowe in a 2015 interview in Art News. He was referring to the writer’s comments on an installation he’d constructed in New York that year with his creative collaborator, Jonah Freeman, but he could have easily been talking about the current show at the Fireplace Project in Springs.

“High Rise Lazarus” has the same layered effect, a jumble of works in several series and mediums, or what they refer to as a genre mash-up. Four different series of works are interspersed throughout the space so that their disjunctive and uniting effects can be experienced at once.

Their inspiration, “High Rise Laz­arus,” was the product of a group of anonymous amateur authors who, beginning in the 1980s, sought to conjoin a number of science-fiction universes into a single magnum story. They ended up with a grand mess, “a mass of narratives that do not create a unified universe as much as a meandering jump-cut reality,” according to the artists and the gallery.

Not only do the artists borrow the idea of the mash-up, they also address some themes similar to the initial project, such as alternative universes, artificial intelligence, dystopian megacities, drug use, and machine/biological mutation.

The showiest works are the “Chopped Sheetrock Mirrors.” These large-format compositions are in the six-to-eight-foot range and sound simple enough in their description of medium and support: U.V. ink on mirror-polished stainless steel. Yet the process the artists go through to arrive at their imagery is far more complex. A high-resolution scanner captures images of smashed sheetrock that has been combined with Windex, water, food coloring, paint, canned air, and more. The aim is to create an image of a wall, captured in the act of someone smashing through it. The size of the pieces puts the experience in human scale.

What are they aiming at? The artists said in a statement that they are referencing Chicago’s Cabrini Green Housing Projects, buildings constructed so cheaply that residents broke down the walls between rooms and apartments to create a complicated maze for law enforcement agents attempting to raid the buildings. The mirrored background gives these compositions an illusive depth that helps heighten the effect of a broken/open space and a further dimension beyond the crushed wall.

Pieces of sheetrock seem to fly in the air as Pepto-pink walls with teal accents explode. Some of the solvents added to the printing process act as smoke or clouds of dust, adding further drama. The remaining open-mirrored surface captures glimpses of the artwork in the room, layering the visual experience even more.

 In keeping with the sci-fi theme are the “Starchamber Collages,” composed of chopped-up book covers from the genre. Here the artists celebrate the “spectacle and cliché of pulp sci-fi” as they create a pastiche of “unlikely and often absurd cut-up illustrations.” Odd-looking but stock alien creatures pop up, as well as “Avatar”-inspired and inspiring figures, like a woman apparently made out of plant life.

Surreal landscapes and sterile urban centers primed for an invasion make up some of the other tropes. Some images come from old advertisements for things like paint. An old stereo receiver looks like a kind of command-and-control device here, even though it was once a common electronic appliance. Groups of ecstatic acolytes surrounding a guru are also a recurrent visual.

The “Cactus Crystal Hybrid” sculptures are in keeping with both the leitmotifs of sci-fi and the idea of a mash-up. These are part of a series the artists have worked on previously, creative fictive organisms that are half plant and half mineral, organic and manmade. In artistic terms, they fall into the category of assemblage. Often spiky and full of texture, the objects could plausibly be thought of as being harvested from an alternate universe’s sea.

While everything in the show was created this year, the one series that seems to not quite work in this environment is the “Narcolepsy Paintings,” which were produced during a residency in East Hampton at Elaine de Kooning’s old house. They too have a complicated back story involving a collector with a predilection for Art Brut paintings, a fetish for primitive objects, and an addiction to naps. As layered as this narrative is, however, it feels out of place, even as the artists claim its “untrained mimicry and the spirit of the unfinished picture” is similar in spirit to the aims of the “High Rise Lazarus” authors.

The exhibition will be on view through Aug. 14.

The Parrish Art Museum in Water Mill will open “From Lens to Eye to Hand: Photorealism, 1969 to Today” on Sunday, showing works of art capturing time and space precisely.

Photorealism began in California and New York City nearly 50 years ago, when it was acknowledged that using photographs to make realistic paintings was a legitimate technique, and that artists who did so were not “cheaters.”

“We know and cannot unknow the fact that the labored-over painting is the end product of a nearly instantaneous mechanical process — a 60th of a second stretched out over months and months,” Richard Kalina, an artist and author, wrote in an essay accompanying the show. “This discontinuity works against the smooth comprehension that we quite rightly apply to normal life, and leaves us with the sense that something else is afoot.”

The exhibition will feature 73 works by 35 artists ranging from Robert Bechtle and Chuck Close, two original photorealists, to those of younger generations, like Raphaella Spence and Yigal Ozeri. Paintings will include “Wheel of Fortune” by Audrey Flack and “Kandy Kane Rainbow” by Charles Bell.

In addition to displaying large works on canvas, “From Lens to Eye to Hand” will showcase 30 small watercolors and acrylics on paper never before seen together publicly. Noting the intimate scale, Terrie Sultan, the museum’s director, said the works on paper offer a “pathway to experimentation, and, more important perhaps, a way to express a sense of light and air that is not obtainable with oil on canvas.”

While photorealism has a specific definition, the subject matter of the works differs greatly, with paintings and watercolors featuring diners, children’s toys, food, people, and even magical elements. It will run through Jan. 21. 

In the Bay Street Theater’s production of Shakespeare’s “As You Like It,”which will open Wednesday evening at 7 and continue through Sept. 3, audiences will note its innovative approach to the enduring wit and captivating plot of Shakespeare’s pastoral comedy.

John Doyle, the Scottish Drama Desk and Tony Award- winnning director of the Broadway production of Stephen Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street,” has put his indelible stamp on this production with the use of a musical score and characters who play instruments.

Mr. Doyle, who is the new artistic director of the Classic Stage Company in Manhattan, noted that the use of music and actor-musicians is a device” I created and developed working in Great Britain over a 20-year period.”

Of “As You Like It,” he said, “I feel it happens in two worlds, the world of the court and the world of the country, in this case the Forest of Arden. I’ve put quite a lot of music into the world of the forest, because music is a magical thing. It’s also something we associate with the country, where people make music on their front porch for a party or dance.”

The score for the production is the work of Stephen Schwartz, a composer and lyricist whose many theater credits include “Wicked,” “Godspell,” and “Pippin.” Mr. Schwartz, who also collaborated with Leonard Bernstein in the English text for “Mass,” has three Oscars, four Grammys, and a Tony to his credit.

“Because the play is about people from a sophisticated court who get flung into the country and are changed by that experience, John wanted the music for them to have a kind of sophistication,said Mr. Schwartz. “His idea was to set the play in the 1930s and to use a jazz-inflected score, which is way outside my normal style and therefore presented a really fun challenge for me.”

There are five songs, or lyrics, in what Mr. Schwartz called one of Shakespeare’s most musical plays. “These are mighty good lyrics, and one wants to honor what he wrote, but we did make a couple of little changes to make a few songs more song-like. In addition, there are verses and love poems, and we decided that rather than just have the characters speak them, we would set them to music as well. This production will have more sung material than other productions of ‘As You Like It.’ ”

Mr. Doyle, who also designed the set, described the imagery of the costumes as quite 1930s. “There’s a certain looseness and freedom in jazz, which I wanted the forest to feel like. The actors not only tell the story, speak the words, become the characters, but also make the music.”

Set in a duchy in France, the play opens in the court of Duke Frederick, who has exiled his older brother, Duke Senior, to the Forest of Arden. Duke Senior’s daughter, Rosalind, has been allowed to remain at court because she is the best friend of Celia, Frederick’s only daughter.

While there, Rosalind meets Orlando, and they fall in love, but Orlando’s older brother, Oliver, mistreats him so badly that Orlando eventually flees to the forest, where he joins Duke Senior and his circle. When Frederick banishes Rosalind, she too takes off for the country, with Celia, and disguises herself as a ganymede, a man. Needless to say, when Ganymede meets Orlando in exile, comedy and confusion ensue.

Among the many characters the two women meet in the forest is Jacques, a melancholy and cynical man who makes many of Shakespeare’s most famous speeches in the play, among them “All the world’s a stage. . . .”In another gender-bending move, Jacques is here played by the Oscar, Tony, and Emmy Award-winning actress Ellen Burstyn. The production also stars Hannah Cabell as Rosalind, Andre De Shields as Touchstone, Quincy Tyler Bernstine as Celia, Kyle Scatliffe as Orlando, and Bob Stillman, who plays both dukes.

“The play is so funny, and incredibly contemporary in its attitude toward life and death and love,” Mr. Schwartz said. Many scholarly articles have examined its themes of identity, gender fluidity, and exile, which resonate so strongly today.

Performances will take place at the Sag Harbor theater on Tuesdays at 7 p.m., Thursdays, Fridays, and Saturdays at 8, and Wednesdays and Sundays at 2 and 7 p.m., with a pay-what-you-can show on Wednesday at 7. Ticket prices range from $40 to $125. 

The Jazz on the Terrace series at the Parrish Art Museum in Water Mill will welcome back the Hendrik Meurkens Quartet, which appeared at the museum two summers ago, tomorrow at 6 p.m.

Mr. Meurkens, a harmonica and vibraphone virtuoso who is a regular of the New York City jazz scene, is acclaimed for his mastery of Brazilian jazz. Reared in Germany, he lived in Rio de Janeiro for 10 years and immersed himself in the country’s music styles.

He will be joined by Misha Tsiganov on piano, Gustavo Amarante on bass, and Rogerio Boccato on drums. Tickets are $12, free for members.

Bill O’Connell’s Triple Play Trio will perform a free concert of jazz and Latin music at the Montauk Library on Wednesday at 7:45 p.m. In addition to Mr. O’Connell, the band includes Mayra Casales, a Latin percussionist, and Peter Martin Weiss on bass.

Mr. O’Connell is a piano soloist, arranger, music director, and accompanist. His talents as a pianist and arranger have been tapped by such Latin musicians as Mongo Santamaria and Dave Valentin and the jazz icons Sonny Rollins, Chet Baker, and Gato Barbieri.

Like the waves he rides, Laird Hamilton is not flat. From surfing some of the biggest swells known, to paddling across the English Channel — even moving in together just days after meeting the woman who is now his wife — Mr. Hamilton’s devil-may-care approach plays into all aspects of his life, both in and out of the water.

Rory Kennedy, meanwhile, is a documentarian whose films, she said, are typically about “hard-hitting social issues.” She was intrigued, though, when a mutual friend suggested that Mr. Hamilton might make a great subject. She knew of his reputation as a big-wave surfer, but little more.

“I wasn’t interested in doing a typical surf film,” she said in a phone interview. “I like story and character, and structure, and I wanted to make sure there was a good story. After spending time with him, I knew I had a great character.” 

The decision to capture more than Mr. Hamilton’s aquatic accomplishments makes Ms. Kennedy’s new film, “Take Every Wave: The Life of Laird Hamilton,” different from the usual stories, both print and video, about him.

From his track record and from filming, she understood that he was fearless, but his willingness to let her pry into his personal life also proved there is very little he is scared of. The film will be shown at 8:30 p.m. on Friday, Aug. 4, at Gurney’s Montauk as part of the Hamptons International Film Festival SummerDocs Series, which will also screen “Trophy,” a film about endangered African species, on Saturday at Guild Hall.

Mr. Hamilton was born in California, but in the mid-1960s his single mother moved to Hawaii, where he grew up. Even as a toddler he loved the ocean, but as he got older it took on a deeper meaning. In the waves, he found refuge from a mercurial adopted father and bullying at school, where he was one of the few white children.

For him, the ocean was an escape. It evened out the playing field. Although an adept surfer, he did not compete in the sport, preferring instead to avoid the publicity that comes with being a professional.

“He hasn’t paid attention to the social norms,” Ms. Kennedy said. “And I kind of liked that.” Instead of focusing on his accomplishments, she highlights the indomitable spirit that drove him to challenge himself and become what she called “the great individualist of this generation.”

Rather than compete with others, he contended with himself, testing the limits of his body in what could swiftly become bone-crushing circumstances. In an effort to find and ride the biggest waves in the world, he established tow-in surfing and foil-board surfing, which gain more fans every year.

Although many of the waves he’s conquered have become common surf destinations in recent years, riding such monsters had been unheard of until Mr. Hamilton came along. Notably, he surfed Maui’s Pe’ahi, better known as “Jaws,” in the early ’90s, and in 2000 rode Tahiti’s Teahupo’o. Fame followed, and “Take Every Wave” duly records the price one pays for it.

Mr. Hamilton, now 53, has faced problems at home, and told Ms. Kennedy about them, and lost good friends to his renown, yet allowed her to consult them for the film.

“He called them and said, ‘Will you talk to Rory,’ ” she said. “He opened up his address book for me, and he literally gave me his entire hard drive.”

The filmmaker hopes that “Take Every Wave” inspires audiences to push themselves into uncomfortable territory. “If you look at it, he grew up poor, with very little education, and he has made this incredible life for himself because he pursued his dreams.”  ­

“About Face,” an exhibition of work by 70 artists presented by the New York Academy of Art, will open tomorrow at the Southampton Arts Center with a reception from 6 to 8 p.m. and remain on view through Sept. 17. Organized by the artist and musician Scott Avett and David Kratz, an artist and president of the academy, the show marks the second collaboration between the two institutions.

“The arts center invited us to do it again,” said Mr. Kratz, referring to last year’s show “Water/Bodies.” “I think that was one of the best attended shows they have had.”

The idea for this year’s exhibition came from Simone Levinson, co-chair of the center’s board, who suggested the subject of contemporary portraiture. “It’s something that is of interest to everybody,” she said, “and it is in keeping with the tradition of the academy,”

The show includes paintings, sculpture, drawings, and photography by 70 artists, among them Jean-Michel Basquiat, Will Cotton, Nicole Eisenman, Eric Fischl, Alex Katz, Alice Neel, Larry Rivers, Cindy Sherman, Laurie Simmons, and Billy Sullivan. Works by academy alumni, faculty, and students will be also be on view.

The theme of portraiture is closely tied to the academy’s founding mission of promoting the tradition of figurative work in the context of contemporary art. Of the two-year M.F.A. program, which is limited to 100 students, Mr. Kratz said, “The training is largely figurative, but students do all kinds of things besides that, including abstract work.”

Mr. Avett is one-half of the Avett Brothers, a band from North Carolina that combines bluegrass, country, punk, pop, rock, and folk. They sold out the Barclays Center in March.

“Scott is a great musician, but also a very talented figurative painter,” said Mr. Kratz. “I asked him to put this show together with me because I really respect his eye. We sat down and made a very aspirational list of the artists we wanted. Ninety percent of the people we asked agreed to participate.” The works came from galleries, private collections, and the artists themselves.

“How you look at a face says a lot about who you are and what you’re thinking about, and that is very apparent in the show,” said Mr. Kratz. “We start with Alice Neel. For me, she represents the beginning of a certain through line of American portraiture. Hers are modern, very candid reflections of who the person is.”

Among the themes of the show are racial and gender identity, social commentary, the subject of beauty, and the roles people play in society. Lyle Ashton Harris is represented by a photograph of two African-American waiters in uniform. “It’s a haunting image. They look as if they’re from another time, but he’s a young, contemporary artist.”

The show includes a selection of Basquiat drawings from his sketchbooks that have never been exhibited. Other works include Mr. Fischl’s portrait of E.L. Doctorow, an early painting by Alex Katz with a lot of texture and gesture, and a photograph by Cindy Sherman. “I love that one because she’s not dressed up. It’s honest.”

A light, almost transparent portrait by Billy Sullivan of the artist Keith Sonnier offers a stark contrast to a large painting by Steve Mumford of a solitary soldier on a vast battlefield in Iraq, where Mr. Mumford was embedded with Iraqi troops.

Both Mr. Avett and Mr. Kratz have works in the exhibition. “I torture my guests and relatives who expect a beach vacation by telling them they have to come to my studio and sit for three hours,” said Mr. Kratz, who has a house in Southampton as well as in New York City.

For several months, a scale model of Guild Hall’s galleries has existed on a table in New York City. Arrayed across the Foamcore walls are the tiny faces of world leaders, artists, fashion models, actors, slaughterhouse workers, civil rights leaders, pundits, singers, and more.

Captured by the photographer Richard Avedon, the images reflect the unflagging interest of one man in the faces that defined the country and its values for more than half a century. “Avedon’s America,” the exhibition that today exists only in miniature, will soon grace the actual plaster walls of Guild Hall’s galleries with a gala opening tied to its annual benefit on Aug. 11.

The Richard Avedon Foundation, where the model awaits its final iteration, is on a far western block in the area of the city alternatively known as Clinton or Hell’s Kitchen. James Martin, who was the artist’s assistant before he died in 2004, has been the executive director of the foundation since then.

“We’ve been working with a model of the Guild Hall space for a while. We like to live with the photographs and move around the pairings and groupings,” Mr. Martin said. “The flow and rhythm needs to make sense, and it doesn’t come across right away.”

In a recent tour, he said the building was chosen because it, like Avedon’s studio, was built as a stable and had a similar feel to it. It houses a flood and fireproof archive room where some 500,000 negatives are kept, a sizable archive of prints (the rest are in a storage facility in Arizona where the climate is more stable), and boxes and boxes of notes, daybooks, and other materials related to Avedon’s activities and publications. Upstairs, in Mr. Martin’s office, are the photographer’s cameras, enlarger, backdrops, and other tools of the studio. The building is sleek and modern, dark on its first floor where prints are worked on and displayed, and light and airy in the upstairs offices and conference room.

Mr. Martin not only keeps a physical archive of Avedon’s work and history, he is also a walking, talking repository of information regarding the photographer. The Guild Hall exhibition has been a collaborative effort among Mr. Martin, Christina Strassfield, Guild Hall’s curator, and Andrea Grover, its executive director. The three met recently at the foundation to go over some final plans for the exhibition. Ms. Grover said the photographs they chose either have connections to the East End or have some relationship to current events or the zeitgeist of our time.

“We’re looking at 20th and 21st-century American history through Avedon’s eyes, and images of artists and personalities connected to the area,” Ms. Grover said. Subjects will include civil rights leaders, pioneering figures who broke through historical barriers in several fields, and even Hillary Clinton and Donald Trump.

Avedon built a house on the Montauk bluffs in 1980, at the behest of his friend Peter Beard, which he modeled on Home, Sweet Home in East Hampton. Josh Gladstone, who is the director of Guild Hall’s theater, told the curators that Avedon took photographs during one of the performances of the Hamptons Shakespeare Festival, which used to present plays outdoors in Montauk.

Ms. Grover noted that even some of the international figures chosen for the show have indirect relationships to the area. These include the author Samuel Beckett, who was on Avedon’s bucket list of subjects to photograph, but had been elusive. It was Barney Rosset, a longtime East Hampton resident, and a friend and publisher of the author, who heard Avedon discuss his disappointment on the radio and made the introduction. (Rosset is the subject of “Barney’s Wall,” a film to be screened at Guild Hall tonight at 8.)

Beckett only agreed to do the photo shoot with Rosset’s son Beckett, who was named after him. Mr. Martin said Avedon was able to pull off two shots of the author alone when the child ran off after three frames. The resulting diptych with just the author is now iconic. Avedon’s list of other elusive subjects included James Baldwin and Gabriel Garcia Marquez; he eventually achieved those sittings too.

Many people think of Avedon as a fashion photographer, and for years that was his bread and butter. But he also worked in reportage and portraiture — both commissioned and art projects — throughout his career. “He worked at breakneck speed,” Mr. Martin said. “In the course of a day, he would have four to five sittings.” He would move back and forth through fashion, commercial work, a personal project, and portraits. “He was so prolific. How do you have that focus?”

Although he spent his early days in the darkroom, he relied on his assistants to do that work for him for most of his career. “We would print out 12 variants, from dark to light contrast, and present four of the 12 to him,” Mr. Martin recalled. “He would take one, rip it up, and say ‘the ear is perfect. Make the rest of the photograph like the ear.’ Or he would ask ‘Where is the drama?’ They were not the usual instructions photographers gave their assistants.”

After his sitting, Baldwin and Avedon became collaborators on the book “Nothing Personal,” released in 1964. The essays and photographs were critical of America, but hopeful. The book was not well received.

“It was released in an environment not ready for a critical depiction of America,” Mr. Martin said. “Dick loved his country, but felt that in order to love a country you need to point out its flaws.” The book was seen as elitist and inaccurate. “The critics saw Avedon as a wealthy fashion photographer, and said he had no right to say this.” In response, he stopped taking portraits for five years. 

In 1969, he returned with a new stripped-down visual vocabulary that would become his signature style: no artifice, no shadows, the subject more directly interacting with the photographer. He removed his subjects from their environments and took out the distractions. “He responded to the book’s criticism by changing his entire aesthetic, and that of others,” Mr. Martin said.

“Avedon’s America” will be celebrated at Guild Hall’s annual summer gala on Aug. 11 with a preview cocktail party and dinner and dancing to follow at the Devon Colony residence of Lucy and Steven Cookson. A private members panel discussion of the show will take place on Aug. 12 at 4 p.m. with Mr. Martin and Robert M. Rubin. Tickets for the gala are available at the Guild Hall website. Tickets start at $500 for cocktails and $1,200 for dinner with discounts for those between the ages of 21 and 40.

Postwar Abstraction at Firestone

The Eric Firestone Gallery in East Hampton will open “Montauk Highway: Postwar Abstraction in the Hamptons” with a reception tomorrow from 6 to 9 p.m. The exhibition will continue through Sept. 17.

“Montauk Highway” takes a close look at the intellectual and aesthetic landscape of the East End after World War II, when many artists migrated to the beaches, bars, and studios of the Hamptons, bringing their commitment to abstraction with them.

The show aims to paint a more complete picture than others that have focused on a few major figures, by including work by more than 25 artists, among them Norman Bluhm, John Ferren, Perle Fine, Audrey Flack, Allan Kaprow, John Little, Charlotte Park, and Jack Tworkov. Documentary photographs by Hans Namuth and Tony Vaccaro will also be on view.

Joe Zucker at Drawing Room

“Neo, Neo, Neoclassicism,” a focused exhibition of work by Joe Zucker, will open tomorrow at the Drawing Room in East Hampton and remain on view through Sept. 4.

Throughout his five-decade career, Mr. Zucker has broadened the meaning of painting through the use of unconventional materials and a refusal to settle into a signature style.

The exhibition includes a group of small gypsum and watercolor panels inset to the surface of the gallery’s walls. Created with watercolor on 12-inch-square sections of wallboard, the “frescoes” of ships and architectural motifs reflect his interest in mosaic.

Two at Ille Arts

Sculpture by John Crawford and paintings by Eva Faye will be on view at Ille Arts in Amagansett from Saturday through Aug. 23, with a reception set for Saturday evening from 5 to 8.

After art school, Mr. Crawford apprenticed for 10 years to Italian smiths at a forge in Tuscany. He continues to work in forged steel, creating imagined organic forms, some of which call to mind to the farm tools he made in Italy.

Ms. Faye paints on vellum, a transparent material she perforates, removing what she feels is unnecessary and leaving rhythmic patterns whose often-organic negative spaces complement the positive forms of Mr. Crawford’s sculpture.

Benefit Show in Gansett

The Amagansett Historical Association will open its sixth annual art show with a reception at the Jackson Carriage House on Saturday from 5 to 7 p.m. A benefit for the association, the exhibition will continue through Sept. 3.

Organized by Elena Prohaska Glinn, Jeanie Trusty Stiles, Nina Gillman, and Isabel Carmichael, the show will include work by Rossa Cole, Lacy Cookson, Elliott Erwitt, Burt Glinn, Sue Heatley, Alice Hope, Vincent Longo, Christa Maiwald, Claire Nivola, Ray Prohaska, Susan Richardson, and Michelle Stuart, among many others.

American Modernism

Janet Lehr Fine Arts in East Hampton will present the 2017 iteration of its annual show of American Modernists from Saturday through Aug. 23. A reception will be held Saturday from 5 to 8 p.m.

The show includes paintings, photographs, and works on paper by Milton Avery, Man Ray, Marsden Hartley, Ilya Bolotowsky, and Arthur Dove, among many others whose styles range from the moody realism of Albert Pinkham Ryder to the precisionist works of Charles Demuth and Frank Stella to the Abstract Expressionism of Perle Fine and Willem de Kooning.

Invitational Exhibit at CMEE

The Children’s Museum of the East End in Bridgehampton will present an invitational exhibition of work by more than 50 East End artists from Saturday through Sept. 5, with an opening reception Saturday from 6 to 8 p.m.

The show was organized by Kimberly Goff, who cast a wide net that captured artists from Montauk to Shelter Island to Southampton, including Linda Capello, Janet Culbertson, Eric Ernst, Janet Goleas, Carol Hunt, Susan Lazarus-Reiman, Dave O, and Hans Van de Bovenkamp, among many others.

Folioeast Alights Again

Folioeast will return this weekend to the barn behind Golden Eagle Arts at 144 North Main Street in East Hampton with a show of painting, sculpture, and photography by John Haubrich, Jane Martin, David Rufo, Matt Vega, Charles Waller, and Amy Wickersham, and outdoor sculpture by James DeMartis, Donna Green, and Dennis Leri.

The show will be open tomorrow night from 5 to 7, Saturday from noon to 8, with a reception beginning at 5, and Sunday from 11 a.m. to 5 p.m.

Ben Fenske at Grenning

A solo show of paintings by Ben Fenske is on view at the Grenning Gallery in Sag Harbor through Aug. 13, with a reception set for Saturday from 6:30 to 8 p.m.

The exhibition includes paintings made during Mr. Fenske’s extended stay in Sag Harbor this summer, including views of Long Beach, Main Street, and the corner of Sage and Madison Streets. His use of short, quick brushstrokes results in impressionistic canvases whose subjects are defined more by color than line.

Four at White Room

“Flux,” an exhibition of four artists united by their use of movement, color, energy, and flow, is on view at the White Room Gallery in Bridgehampton from today through Aug. 20. A reception will be held Saturday from 6 to 8 p.m.

Barbara Bilotta considers herself an Abstract Expressionist, though her forms are inspired by a love of nature. Sally Breen’s paintings are also steeped in nature, steering a course between abstraction and representation.

Anna Fenimore’s wildly colorful mosaics juxtapose various kinds of glass, including Baccarat, Swarovski, and Murano, often with other materials. Mark E. Zimmerman’s abstract paintings combine swirls of color and crisscrossing black lines.

The Pollock-Krasner House and Study Center in Springs will open a new show today featuring artists who managed to transcend totalitarianism to pursue pure abstraction in defiance of Communist Party doctrine during the Cold War.

“Abstract Expressionism Behind the Iron Curtain,” organized by Helen A. Harrison, the director of the center, will feature little-known paintings from Eastern Europe. Ms. Harrison worked with Joana Grevers, a Munich scholar and specialist in Romanian art, to show that the influence of the New York School of abstraction extended far beyond what even international art historians have assumed.

Artists from Slovenia, Poland, Czechoslovakia, Croatia, and Romania, who became aware of the development of Abstract Expressionism through travel, contact with artist friends, and international exhibitions, will be featured. Inspired by the breakthroughs taking place in midcentury Modernism, they risked punishment for pursuing a personal vision outside of the sanctioned norms.

The works will illustrate how they adapted the fundamentals of the period: spontaneous gesture, subjective imagery, and emotional content. The paintings will come from institutions and private collections in the same countries where they were created.

“Behind the Iron Curtain” will remain on view through Oct. 28.