There are some musicians who seem incapable of hitting a sour note, or failing to astound their audience every time. Whether natural ability, the hard work of mastering their instrument, or, most likely, a combination of the two, a few are inexorably destined for greatness. 

Yoonah Kim appears to be one such musician. A winner of the 2016 Concert Artists Guild International Competition, she was the first solo clarinetist to win that contest in nearly 30 years. Also last year, she was a featured soloist at the Juilliard School’s Focus Festival, performing Donald Martino’s “A Set for Clarinet” at Peter Jay Sharp Theater in New York, and she became the first woman to win first prize at the Vandoren Emerging Artist Competition, leading to her world premiere performance of “Pocket Concerto” by the composer Dag Gabrielsen at the Music for All National Festival in Indianapolis. All of these accomplishments, by the way, have come before her 25th birthday. 

Tomorrow at 6 p.m., Ms. Kim will give her debut performance at the Parrish Art Museum in Water Mill. The concert is part of the museum’s Salon Series, which introduces the new generation of classical musicians. 

The clarinet was not even her first choice. “I picked the flute because I thought it was a beautiful instrument,” said Ms. Kim, who was born in Seoul and moved with her family to British Columbia when she was 8. “But I could not get a sound out of it! Now I can play it, but it was weird in the beginning.” 

The clarinet, she said, was her mother’s suggestion. “She loves the clarinet a lot and said, ‘Why don’t you try?’ ”

After graduating from high school in 2010, Ms. Kim moved to New York to attend the Mannes School of Music, earning a Bachelor of Music before going on to Juilliard, where she earned a Master of Music degree. As principal clarinetist of both schools’ orchestras, she has performed at venues including Carnegie Hall, David Geffen Hall, Alice Tully Hall, and Symphony Space, all in New York. She has also been the principal clarinetist of the New York Youth Symphony and the Vancouver Youth Symphony Orchestra. With the latter, she appeared in the closing ceremony of the 2010 Vancouver Winter Olympics. 

She has also performed at chamber music festivals including the Sarasota Music Festival, the Banff Centre Music Festival, and Caroga Lake Music Festival. “It’s starting to get busier,” she said, modestly, of her performance schedule.

Last fall, she joined a selective two-year fellowship program under the auspices of Carnegie Hall, the Juilliard School, and the Weill Institute called Ensemble Connect. The ensemble performs regularly at Carnegie Hall, and in December was at the Philharmonie de Paris. The program partners with the New York City public school system, which takes Ms. Kim to Robert F. Wagner Middle School, where she works with music students. “It’s really hard,” she said, “but rewarding.”

There is even more in this young musician’s skill set: In a jazz ensemble she played bass and trumpet. “I love playing jazz,” she said.

Tomorrow, accompanied by Kevin Ahfat on piano, Ms. Kim will perform works including “Pièce en forme de Habanera” by Maurice Ravel, a clarinet sonata by Johannes Brahms, a sonata for clarinet and piano by Francis Poulenc, and a solo piece by Jorg Widmann. “That is a new piece,” she said, by “a living composer who’s a clarinetist. He composed it in 1993 and played it for his Juilliard audition. I played it for my audition as well, so there is that personal connection. It’s one of my favorites — it’s so fun, and allows me to really turn into something I’m not.” 

Ms. Kim has certainly accomplished a lot in a short time, but seems destined to achieve quite a bit more in her creative pursuits. Asked about her other interests, she said, “This is random, but I used to tap dance, for five or six years. I’m thinking of somehow bringing it back into my life. Maybe, possibly, a collaboration, with tap dancing and clarinet.”

Tickets to Yoonah Kim, tomorrow at 6 p.m. at the Parrish Art Museum, are $25, $10 for members, and include museum admission.

“Sirens,” a new opera by the composer and conductor Victoria Bond, will have its world premiere on Monday at 7:30 p.m., at Symphony Space on Manhattan’s Upper West Side, part of that venue’s Cutting Edge Concerts New Music Festival, which was founded by Ms. Bond 20 years ago. The program will also include operas by William Anderson and Frank Brickle.

“Sirens” draws on episode 11 of James Joyce’s “Ulysses” for its inspiration. “The episode fascinates me,” Ms. Bond has said, “because of its profound humanity and its many musical references. The focus of the episode is Leopold Bloom, whose wife, Molly, a singer, is carrying on an affair with her vocal partner tenor, Blazes Boylan. Molly and Blazes are preparing to go on a concert tour together.”

She has characterized the episode as Joyce’s verbal equivalent to musical counterpoint. “He has called this a ‘fuga per canonem,’ assigning to each character the role of a musical line . . . I have set each section as a contrapuntal form, including canon, invention, fugue, and episodes connecting them.”

Ms. Bond, who has a house in East Hampton, is known locally for her Operatif lectures that precede some of the Metropolitan Opera’s Live in HD telecasts at Guild Hall.

Tickets for the program are $20, $30 the day of the show, and can be ordered on the Symphony Space website.

The Verona Quartet, a winner of the 2015 Concert Artists Guild Competition, will perform at St. Luke’s Episcopal Church in East Hampton on Saturday afternoon at 5 p.m. The concert, part of the “Music at St. Luke’s” series, will include works by Haydn, Shostakovich, and Beethoven. Admission is $20, free for those under 18. A light reception will follow.

Sag Harbor’s Bay Street Theater will present its annual New Works Festival this weekend with free readings of four plays in development, starting tomorrow evening at 7 with “Molly Sweeney: A New Musical,” which is based on the play by Brian Friel.

The mission of the festival is to afford playwrights an opportunity to hear their works in front of an audience, and for the East End community to see cutting-edge theater read by professional actors, with minimal staging.

Whether by coincidence or not, three of this year’s productions deal in very different ways with physical impairments — blindness and memory loss. With book by Eric Ulloa and music and lyrics by Caleb Damschroder, “Molly Sweeney” is about a 41-year-old woman, blind since infancy, who is offered the opportunity to restore her sight through surgery.

“Thomas Murphy,” adapted by Roger Rosenblatt from his novel of the same name, follows an aging Irish poet who lives alone in Manhattan, reflects on his past, and faces his future with wit, lyricism, and apprehension. His life takes a sharp turn when he meets Sarah, a beautiful blind woman with whom he unexpectedly falls in love. “Thomas Murphy,” which is being co-produced by New York’s Flea Theater, will be performed on Saturday at 8 p.m.

In “The Impossibility of Now,” a comedy by a playwright known as Y York, Carl, a brilliant science writer, has suffered profound memory loss after a freak accident. The sudden change deflects his wife’s feelings about Carl toward a possible future with Anthony, a sexy pediatric dentist who is crazy about her. The reading will take place Saturday afternoon at 3.

The festival will conclude Sunday at 3 p.m. with “The Cocktail Party Effect,” Scooter Pietsch’s funny, biting look at three married couples celebrating their 10th New Year’s Eve together at a time when all their children have left for college. How will they handle being alone together from now on, without teenagers to complain about?

The festival was assembled by Scott Schwartz, Bay Street’s artistic director, and Will Pomerantz, the associate artistic director. Although the readings are free, tickets are required, as the programs sell out. Seats can be reserved at baystreet.org.

It takes someone raised in the analog era to promote a series of live panel discussions called “Out of the Question: Reviving the Lost Art of Provocative Conversation.”

The much-lamented death of conversation invariably points to the digital domain as having created a dialogue-lite world. Google, people say, has dealt a fatal blow to the exchange of ideas, or the need for argument or Socratic dialogue, since any notion today can be instantly verified or denied. Besides, Twitter is how we debate. 

Enter — or, rather, re-enter — Warren Strugatch, who, after a 12-year hiatus, is back with his salon-style conversation series, “Out of the Question.” 

Beginning next Thursday at 7:30 p.m., Mr. Strugatch will host five panels between May and September, all to be held at the Southampton Arts Center. Each promises to bring together prominent East End residents for discussions before live audiences, tackling trends and issues in the arts, restaurants, architecture, business and economics, and politics. 

“My goal remains the same,” said Mr. Strugatch, a former New York Times columnist who is the organizer and moderator of the series. “I want ‘Out of the Question’ to continue to be a forum for smart, articulate, and accomplished Hamptons people to bounce ideas off each other, off me, and off the audience. I see my role as creating a kind of cauldron for new ideas, where people of distinctly different viewpoints hash out and synthesize fresh perspectives.”

If the series is meant to hark back to the decadent French salons, where a skillful salonniere (think Gertrude Stein) directed creative lions to stimulate and enlarge intellectual life, then Mr. Strugatch’s series opener — “Real Estate: What’s Trending Now?” — seems to offer something more pragmatic. Panelists at the real estate summit will include the brokers Pamela Liebman and Zachary Vachinsky, and the developer Joseph Farrell.

Subsequent topics might prove to be more strident: “The Business of Art: Passion or Profit?” on June 8; “Restaurants: Where’s the Fork in the Road?” on July 13; “Architecture: Does Modernism Still Matter?” on Aug. 10, and “Is Our Democracy Sustainable?” on Sept. 28. Scheduled panelists for the series include Eric Fischl and Toni Ross, artists; Eric Lemonides, restaurateur; Paul Goldberger, architecture critic; Rick Friedman, art-market entrepreneur, and several others.

Amy Kirwin, the director of programs at the arts center, said, “This type of programming is an important part of Southampton Arts Center’s mix of cultural offerings. Warren’s series not only showcases local and diverse points of view, but creates unique and inclusive conversations. Audience members are welcome — if they choose — to jump right into the idea exchange.”

Mr. Strugatch himself strongly encourages audience participation, while stressing that the discussions be civil. In fact, he decided to bring the series back, he said, after being struck during the presidential campaign and election by “how impoverished and devoid of genuine interaction the national conversation had become.” He hopes that respect will prevail during the panels, both for the ideas expressed and for the people articulating them.

The original “Out of the Question” series began in 2003 at the Westhampton Beach Performing Arts Center and moved to Guild Hall in 2004 and 2005. Panelists including the adman Jerry Della Femina, the author Steven Gaines, and Lance Gumbs, a former Shinnecock tribal chief, tackled questions such as “Are the Media Eating the Hamptons Alive?” and “When Did ‘Assimilate’ Become a Dirty Word?”

Following the 2005 series, Josh Gladstone, the artistic director of Guild Hall, offered Mr. Strugatch a glowing testimonial: “For two seasons he lit up our stage with conversations that ranged from the savvy to the sublime, catching a keen who’s who of Hamptons notables in candid, opinionated, and often surprising discussions. Warren’s provocative style, supported by strong research and a broad knowledge of industry trends, made for several illuminating evenings.” 

Mr. Strugatch, an author, blogger, and business strategist, together with Cindy Smith, the series’ producer, promises that the format will stay the same: Bring together newsmakers and leading thinkers, throw out a few questions, then let the conversational ball be tossed around.

“It’s like an A-list party we all wish we could be invited to, just to eavesdrop on the conversations,” said Mr. Strugatch. “With ‘Out of the Question,’ everyone is invited.”

The Southampton Arts Center is at 25 Job’s Lane. Tickets are $15 and can be bought at the box office or online.

Zine-Making Workshop

Ille Arts in Amagansett will hold a zine-making workshop on Saturday from noon to 3 p.m. The cost is $15 and guarantees inclusion in the gallery’s “Zine East” in August.

“De Kooning and Friends”

Willem de Kooning, Jackson Pollock, and Robert Rauschenberg are among the art world luminaries who will be on hand Saturday at 6 p.m. for the opening reception of “De Kooning and Friends” at the Sag Harbor Whaling Museum.

The exhibition, which will be up through May 22, features Mary Montes’s paintings of those notable artists, as well as portraits of Lee Krasner, Costantino Nivola, Elaine de Kooning, Leo Castelli, and other members of the New York School and those in its orbit who lived and worked on the East End.

Ms. Montes’s style fuses representation, abstraction, and an expressive handling of line and color. The artist divides her time between the East End and Coral Gables, Fla.

A Day With Resident Artists

Guild Hall’s artists-in-residence will present the results of their residencies, including collaborative projects, on Saturday at 6 p.m., both inside and out.

The program, which was organized by the five artists — Lucia Davis, Tanya Gabrielian, Lydia Hicks, Judson Merrill, and Walter Price — will be hosted by Ms. Davis, founder of the Art Bus, which will make its first public appearance, in front of the cultural center, on Saturday. She will interview Ms. Hicks about her video installation “Black in the Water,” which will be on view in the bus.

Mr. Merrill, a writer, will read selected excerpts from his work. Walter Price will talk about his painting, and “Seven Last Words,” a multidisciplinary collaboration by Ms. Gabrielian and Ms. Hicks, will be presented in the John Drew Theater. 

The program is free, but reservations are required and can be made at guildhall.org.

Mizrahi at Ashawagh

“Music Sheets,” a show of paintings by Haim Mizrahi, will be on view at Ashawagh Hall in Springs Saturday and Sunday. A reception will be held Saturday from 4 to 9 p.m., and a reading by local poets will take place Sunday afternoon at 3.

Mr. Mizrahi has said that the “Music Sheets” reflect his longstanding interest in music and poetry as well as painting. The all-over surfaces and swirling ribbons of paint of his abstract canvases are reminiscent of Pollock, but his work as a whole “stretches across many styles, due my detachment from rules.”

Abstraction at White Room

“Abstract Anarchy,” an exhibition of paintings by Barbara Bilotta, Jessica Singer, Melissa Hin, and June Kaplan, will open tomorrow at the White Room Gallery in Bridgehampton and continue through May 29. A reception will take place Saturday from 5 to 7 p.m.

Both Ms. Bilotta and Ms. Hin work in the Abstract Expressionist tradition, but with variations from dense, layered surfaces to more open areas of color. Ms. Kaplan’s primarily abstract canvases incorporate elements of realism. Ms. Singer’s paintings reflect her work in the graphic design field and her appreciation of Jackson Pollock.

At Eric Firestone in Manhattan

The Eric Firestone Loft in Lower Manhattan, an extension of the East Hampton gallery, is presenting “That’s How the Light Gets In,” a show of paintings from 1970 to 1972 by the late Michael Boyd. 

Last seen in 1973 at the Max Hutchinson Gallery in SoHo, these square canvases explore space and light through the use of hard edge and contrasting gradients. The minimalist works blend a cool formalist attitude with a painterly approach.

The loft, which is at 4 Great Jones Street, is open Tuesday through Saturday from 11 a.m. to 6 p.m. or by appointment.

Strong-Cuevas in Chelsea

Eight drawings and 14 sculptures from the 1980s by Strong-Cuevas are on view at Elga Wimmer PCC in Chelsea through May 27. The artist, a longtime Amagansett homeowner, has said, “There is a meditative quality in my work — interior investigation — and I’m also fascinated by physics, cosmology, and what’s out there in the universe.”

How many times have you heard that an artist’s work was really good, because it was fetching five, six, or even seven and eight-figure prices? The art market has so pervaded the art world that even artists fall prey when discussing other artists. 

In this climate, they cannot be blamed for building on success, or for considering how marketable a medium, style, or subject might be. Sometimes it might not be a dollar amount but an identity that is at stake in keeping with the norm. But what happens when the creative urge points them in another direction?

Addressing this dichotomy is a show called “Alt-Egos,” at Crush Curatorial, Karen Flatow’s potato barn studio and alternative exhibition space in Amagansett. She invited Scott Bluedorn, an artist and curator with a broad and deep digital Rolodex, to put together an exhibition that demonstrates a side of regional artists whose work we think we know, but who lead a double life creatively. 

Mr. Bluedorn, known for his precisely drawn fine-art landscapes and fanciful subjects and his Greenport Harbor Brewery label designs, makes abstract wall-hung objects as well, constructed from found objects and resin. Patchy and colorful, they look not unlike very large missing puzzle pieces, and nothing like his drawings.

Joining Mr. Bluedorn and Ms. Flatow, who contributes her own drawings to the mix, are more than 40 artists. Most provide concurrent pieces to the work they typically create in their studios, but some are showing projects from much earlier years. A few of their sources are not too difficult to discern, but most are very surprising.

Standouts include Eric Fischl’s crude clownish caricatures of Trump administration insiders, created on his iPad. These satirical works are figurative, but not otherwise related to the painterly forms in his current canvases that also explore life in the Trump years (at Skarstedt Gallery in Manhattan through June 24). The collected drawings, presented as one work in a slide show format, are not for sale. Maybe the artist doesn’t want to give up his iPad, but it seems more likely a deeply personal project, pursued not out of creative intention, but cathartic release.

A Fulbright scholar, Kristina Felix incorporates fabric and sculpture in much of her recent work.  In “Vise,” she adds ceramics to the mix, a medium that has caused her to reconsider her notions of craft and art as they relate to history and contemporary intellectual practice. In the piece, she stacks square wooden planks between layers of fabric and ceramic plates. The resulting tower is held together by tension only, making “Vise” even more vulnerable than it appears.

Charles Ly’s “Handle With Care” is a precise geometric composition of straight-edge blades mounted on wood. The artist’s typical use of pattern is organic in form: hair, leaves, feathers, and shells. Although the angled shape of the blades is consistent, each one is unique. Some appear presented as they were likely found, with rust or putty as decoration. Others are embellished with paint, ink, tape, and other materials. Rigidly organized, the composition is random in its overall placement of color, light, and shadow. It offers a new surprise at every viewing. 

Jackie Black was included in last year’s “Artists Choose Artists” for her frank and confrontational photography, and it is startling to see her amplifier and ukulele in this show. Constructed from a metal can outfitted with strings and a shotgun shell box sporting a reclaimed speaker, both uke and amp are fully functional, if not tuneful. The instrument is both a descendant and disrupter of Picasso’s Cubist sheet-metal sculpture of a guitar — an intentional signifier, incapable of sound. According to the artist, she just wanted to have some fun.

Christine Sciulli risks being missed in an installation that plays with light in a subtle way, unrelated to her usual pieces. It’s a delightful surprise and a genius use of packing tape.

In a painting from 1952, Randall Rosenthal offers his 5-year-old view of the world marked by a fascination with fire. The work shows the early promise of a talent that eventually would be channeled into his trompe l’oeil creations of wood and paint.

With such a large roster, there is obviously much more to say, but space is limited. Other artists who stood out included Perry Burns, Idoline Duke, Charlotte Hallberg, Hiroyuki Hamada, Jon Kessler, Bill Komoski, Jane Martin, Hildy Maze, John Messinger, Mark Perry,  Dalton Portella, Peter Spacek, Dan Welden, and Lucy Winton.

It’s impossible to rate a show this large on all of its parts, but the sum is impressive and the installation works despite the range of styles and formats. The show will close with a reception on May 26, with a possible performance by one or more of the participating artists.

The Watermill Center’s “In Process” series has a specific mission. As she introduced Saturday’s program of works-in-progress by three current resident artists — Carrie Mae Weems, Lexy Ho-Tai, and Lotte Nielsen — Elka Rivkin, the center’s director, said, “We try to do something in the middle of each residency that gives an audience an opportunity for a window into what the creative process is, or could be, for different artists.”

“Grace Notes: Reflections on Now,” a multimedia piece that Ms. Weems is working on, is much more fully developed than some other projects, having been previously presented at the Spoleto Festival and the Yale University Theater. In her 30-year body of work, Ms. Weems has used photographs, text, fabric, audio, installation, and video to explore family relationships, gender roles, and the history of racism, sexism, and various political systems.

She discussed the genesis of “Grace Notes” prior to the performance. “I conceived this project several years ago,” she began. “I wrote to 30 or 40 artists with the idea that we would put together a thank-you to Barack Obama for his service to this nation. By that afternoon, 20 or 30 had already replied to the idea.”

She approached poets, composers, writers, and choreographers to help her develop the piece, with the idea of putting “all of it in a beautiful series of boxes that we would ship off to the president and eventually to the Presidential Library.” But as her collaborative team emerged, she realized that the work should be a performance.

While at the center, Ms. Weems has been trying to understand “the meaning of grace — not necessarily as a religious idea, but as a quality of being. Something that came to me in the process of working it out is that, in looking at what has happened to people in very difficult circumstances, it became clear that those people seemed to hold on to the core of their humanity.”

The performance consisted of Ms. Weems reading from her text, Carl Hancock Rux reading his poetry, video projected in the background, and an intermittent music soundtrack. Tanya Selvaratnam, who sat next to Mr. Rux across the room from Ms. Weems, also read from the artist’s writings. 

The piece was somber, dark, and mesmerizing, as testified to by the hushed audience of about 90 people. Politics and race were key elements of the texts and the film footage, some of which was taken from early civil rights conflicts in the South. 

Mr. Rux spoke of “everybody taking matters in their own hands, roaming the streets, knowing that by the year 2020 manifest destiny would be a thing of the past, boxed up and put away, and compelled by growing senseless thoughts as confederates and conservatives were coming out again, despising Obama and voting for Trump.”

“Tripped up by forces beyond their control, white men were disaffected and disenfranchised, and black men were disaffected and dying,” Ms. Weems read. “But both were devoid of power, blinded by rage and historical circumstance. Each blamed the other.”

She also detailed, elliptically, the history of violence against African-Americans, reeling off ages that referred to men and women who were killed: “He was 43, a father, a brother, an uncle, a cousin, a boy, a friend; she was 35. . . .”  The names followed later — Trayvon Martin, Michael Brown, Eric Garner, and Freddie Gray among them. Brief video clips of the crime scenes ran in the background. 

While both Ms. Weems and Mr. Rux noted that the piece has some lighter moments, she did say, during the question-and-answer period, that “working with this material on a daily basis can be brutalizing for the psyche, painful for the mind, the heart.”

While “Grace Notes” drew a sustained round of applause from an audience that was deeply moved, it was also with some relief that the final studio visit couldn’t help but lift visitors’ spirits.

Ms. Ho-Tai, who recently earned a B.F.A. in fashion design from the Parsons School of Design, characterized herself as “an explorer, dreamer, and maker of things. I like making all sorts of things. Mostly, I enjoy making things that ignite joy and make people smile.”

For the past year and a half, she has been working on “Kookerville,” an imaginary world “where your inner childhood takes form as Kookers,” or monsters, as she called them. Hardly frightening, these colorful, life-size figures are made from recycled and found materials, including newspapers and pieces of fabric wrapped together by wire.

Ms. Ho-Tai’s art is inventive and playful. “Kookerville” was her response to New York City, where she moved in 2012 from a small town in Canada. “Nobody seems happy there at all. So I wanted to create this world that would kind of be a fleeting moment of joy and spontaneity.” 

A work in progress by Ms. Nielsen, a Danish artist whose ongoing video project “YAOI” includes footage of a long-abandoned cinema in Copenhagen and L.G.B.T. youth who hang out there, was introduced by Ms. Rivkin, Ms. Nielsen having had to return to Denmark unexpectedly to attend to a family matter. 

In the short video sketch of a group of L.G.B.T. youth on the East End, the camera, shooting in extreme closeup and with jumpy informality, moves among a group of five or six girls, their faces often blurred by the movement of people getting between them and the videographer. The audio was mostly inaudible, so only fragments of dialogue could be understood, resulting in a tantalizing but elusive fragment.

Whether or not owing to Ms. Weems, who is African-American, Saturday’s audience was not only large but also diverse — unusually so for cultural programs on the East End. One visitor remarked, a bit wistfully, “We should build on this.” 

Montauk in the ’50s

The watercolors of Kenneth Bonar Walsh Jr., a commercial artist from New York who found his muse in Montauk will be on view at the Amagansett Library beginning Wednesday with a reception at 6 p.m.

Mr. Walsh, who died in 1980, moved to Montauk in the 1950s and built a house in Hither Hills. He also started the Bonart Gallery, initially at Gosman’s Dock. He captured in his paintings the natural beauty that marks the South Fork. The show will be on view through May 28. Another exhibition will open at the Woodbine Gallery in Montauk on May 27.

Pollock-Krasner House to Reopen

The Pollock-Krasner House and Study Center in Springs will reopen next Thursday with “East End Art World, August 1953: Photographs by Tony Vaccaro.” The exhibition will continue through July 29.

In August 1953, Look magazine sent Mr. Vaccaro to East Hampton to photograph Jackson Pollock and Lee Krasner for a feature article that never ran. The negatives, which also include photographs of Fairfield Porter, Larry Rivers, Elaine and Willem de Kooning, and Wilfrid Zogbaum, were only discovered 60 years later.

By 1953, Mr. Vaccaro was already established as a photojournalist who, as an infantryman in World War II, had taken more than 8,000 photographs. He subsequently freelanced for Flair, Look, Life, Venture, Harper’s Bazaar, Town and Country, Quick, Newsweek, and many other publications, photographing kings, queens, presidents, popes, writers, actors, and scientists as well as artists.

The exhibition will feature 20 images, including a previously unknown color portrait of Pollock.

Crush Curatorial Back in Gansett

Crush Curatorial will return to its Amagansett space after a winter hiatus with “Alt-Egos,” a group exhibition organized by Scott Bluedorn. The show will open with a reception tomorrow from 6 to 9 p.m. and close with another reception on May 6, also 6 to 9. Otherwise the gallery will be open by appointment through [email protected].

The premise of the exhibition, according to Mr. Bluedorn, “is to illustrate work by artists that is wholly different from that by which they are known in the public eye.” Among the more than 40 participating artists are Andrea Cote, Karen Hesse Flatow, Perry Burns, Lucy Winton, Philippe Cheng, Peter Dayton, Rossa Cole, Christine Sciulli, Steve Miller, Bryan Hunt, and Mr. Bluedorn.

New at Roman Fine Art

“Deceptive Spaces,” a solo show of new paintings by Sarah Slappey, will open at Roman Fine Art in East Hampton tomorrow night with a reception from 7 to 9, and remain on view through May 21.

Ms. Slappey’s painting style has roots in the Southern Gothic aesthetic — Bible Belt superstitions, ghost stories, swamp lore, and mysticism. Each of the paintings depicts an imaginary space that combines carefully rendered images with abstract components that undercut the illusionism. Many of the interior paintings contain paintings-within-paintings, with references to Boucher, Fragonard, and other masters.

Dennis Lawrence at Elizabeth Dow

Elizabeth Dow Home on Gingerbread Lane in East Hampton is presenting “Meditations,” a show of paintings by Dennis Lawrence, through June 6. A reception will be held on May 6 from 5 to 7 p.m.

Mr. Lawrence, who has lived in Springs since 1970, began his career as a sculptor, but since 1989 he has concentrated primarily on painting, with his feeling for East End landscapes, sea­scapes, and natural light transformed into abstract compositions that reflect his touch for color and line.

14 Photographers

An exhibition of work by 14 East End photographers will be held at Ashawagh Hall in Springs on Saturday and Sunday. A reception will take place Saturday from 4 to 7 p.m.

Participating photographers are Nina Bataller, Fred Bertrand, Marilyn DiCarlo-Ames, Davis Gaffga, Dave Gilmore, Dennis Maroulas, Bruce Milne, Joe O’Haire, Sandy Peabody, Joan Santos, Lou Spitalnik, Fred VenderWerven, Alex Vignoli, and Denis Wolf.

Spring Flowers

At Romany Kramoris

Romany Kramoris Gallery in Sag Harbor is presenting its annual Spring Flower Show from today through May 25, with a reception scheduled for Saturday from 5 to 6:30 p.m. The exhibition features a variety of styles ranging from realism to impressionism.

Featured artists include Liz Gribin, Joyce Brian, Joan Tripp, Barbara Groot, Muriel Hanson Falborn, Hazel Shearer Thomas Gray, Ghilia Lipman-Wulf, Pingree Louchheim, Veronica Mezzina, Richard Udice, Lois Bender, and Ms. Kramoris.

Art and Aromatherapy

“What Lies Within Us,” an exhibition of photographs by Asia Lee that will be accompanied by aromatherapy and specially composed music, is on view at the White Room Gallery in Bridgehampton from tomorrow through Wednesday, with a reception set for Saturday from 6 to 8 p.m.

According to the gallery, Ms. Lee hopes her art will help transform our culture and society while reconnecting us with nature. A percentage of art sales from the exhibition will be donated to the Retreat.

New at Harper’s Apartment

Harper’s Apartment, the Manhattan outpost of Harper’s Books in East Hampton, will present “Violet Paintings for the Red and Blue Studio,” an exhibition of work by the Los Angeles artist Spencer Lewis, from Tuesday through June 24. A reception will be held on Tuesday from 6 to 8 p.m.

Using raw pigment, oil, acrylic, enamel, and spray paint, Mr. Lewis creates aggressive impasto paintings on large cardboard substrates that elevate the utilitarian material, according to the gallery. 

Cindy Sherman in Manhattan

“Cindy Sherman: Once Upon a Time, 1981-2011,” is on view at the Mnuchin Gallery in Manhattan through June 10. The exhibition features more than two dozen works drawn from three of the artist’s most acclaimed series: “Centerfolds,” “History Portraits,” and “Society Portraits.”

Since the debut of her “Untitled Film Stills” in 1978, Ms. Sherman, who has a house in Springs, has played the role of both photographer and subject. Her work explores the nature of representation and the ways in which the images of film, television, and advertising have influenced our understanding of identity and the world. 

Protecting the Environment

“Sea Something, Save Something,” a group show aiming to raise awareness about protecting the marine environment, will open at Castello di Borghese Vineyard and Winery in Cutchogue with a reception Saturday from 6 to 9 p.m. and continue through June 1.

The show, a benefit for the Cornell Cooperative Extension Marine Program, includes works by Scott Bluedorn, Dalton Portella, Peter Spacek, Dan Welden, Michele Dragonetti, Emma Ballou, Candace Ceslow, and Rossa Cole, among others.

Bruce Lieberman in Setauket

An exhibition of recent work by Bruce Lieberman will be on view at Gallery North in Setauket from Saturday through May 26. A reception will be held Saturday from 4 to 6 p.m.

Mr. Lieberman, who has had a studio in Water Mill since 1990, is a painter of figures, landscapes, seascapes, and other subjects. He has characterized his work as “a conversation with contemporary art that fits my brand of representational painting.”

Leaves are budding. Daffodils are popping. Tulips are a-bloom. What would make this South Fork springtime scene more complete? “Rites of Spring,” the official opening event of LongHouse Reserve in East Hampton would.

Every year around this time the garden and sculpture center opens its doors for regular hours on Wednesdays and Saturdays. This Saturday will mark the official season kickoff and the big reveal of what new exhibitions and artworks are on view this year.

In the gallery is “LongHouse Collects,” a compendium of new acquisitions that herald LongHouse’s metamorphosis from private residence to public museum in the coming years. A sampling includes Sue Lawty’s stone panel, Wendell Castle’s rocking chair, Robert Whitley’s hand-carved podium, Japanese ironworks, and fabrics by Martha Burns, Claudia Mills, Ethel Stein, and Ed Rossbach.

On the grounds are new sculptures by John Chamberlain, John Crawford, Marilyn Dintenfass, Judith Kensley McKie, Mark Mennin, Bernar Venet, and Fred Wilson. 

The grounds are open from 2 to 5 p.m. on Saturday. LongHouse will then open for regular hours on Wednesday and Saturday at the same times through June, expanding to Wednesday through Saturday in July and August. Admission is $10 and free for members.