“Unpregnant Pause: Where Are the Babies?” — a free performance based on a new book by Debbie Slevin — will take place Sunday afternoon at 3:30 at the Montauk Library. The book came about when Ms. Slevin realized her desire to be a grandmother might not be fulfilled. Jody Lyn Flynn and Jeff Slevin will perform the piece.

On Wednesday at 7:30 p.m., Janice Friedman, a jazz pianist, vocalist, composer, and arranger, will perform a free program of jazz standards at the library. Will Woodard will accompany her on bass.

“One-Man Star Wars Trilogy,” a solo performance by Charles Ross, a Canadian performer and writer, will transport the galaxy from far, far away to Guild Hall on Saturday at 8 p.m. Since its premiere in 2001, the play has been performed more than 1,200 times on four continents.

During the 75-minute performance, Mr. Ross plays all the characters, recreates the effects, sings music from the John Williams score, flies the ships, and fights both sides of the battles. Lest he be typecast, Mr. Ross has also created and performed “One-Man Lord of the Rings.” Tickets to “One-Man Star Wars” range from $22, $20 for members, to $45 and $43.

Sutton Foster, an actor, singer, and dancer who has performed in 11 Broadway shows, will bring her vocal talents to Guild Hall on Sunday evening at 8. Her solo shows feature songs from her CDs “Wish” and “An Evening With Sutton Foster: Live at the Cafe Carlyle,” among them “Up On the Roof,” “Oklahoma,” “Here, There, and Every­where,” and “I’m Beginning to See the Light.”

A two-time Tony Award winner for “Anything Goes” and “Thoroughly Modern Millie,” Ms. Foster has been seen on television in “Royal Pains,” “Law and Order SVU,” and “Sesame Street,” to name a few, and has performed live at Carnegie Hall, Joe’s Pub, Lincoln Center’s American Songbook Series, and many others. Tickets start at $55, $53 for members, and rise to $150 and $145.

The Doo-Wop Project returns to Guild Hall Monday at 8 with its mixture of 1950s pop classics and stories told by the cast about their backgrounds and experiences in the music business.

The show will include songs originally performed by the Four Seasons and Smokey Robinson, as well as contemporary numbers by Michael Jackson, Cyndi Lauper, Amy Winehouse, and Bruno Mars, all with a doo-wop spin. Tickets range from $40, $38 for members, to $95 and $90.

Music for Montauk, the long-running program of free concerts that was revived in the spring by Lilah Gosman and Milos Repicky, its new artistic directors, will hold its first-ever summer series of concerts, indoors and out, from Tuesday through Aug. 15.

The series will launch Tuesday with several pop-up concerts in the hamlet’s outdoor spaces and public venues, featuring surprise performances by its guest artists.

On Wednesday the action will move to Sole East, where a tango concert will take place at 8 p.m. Pedro Giraudo, a featured bassist on multiple Grammy Award-winning recordings, will be accompanied by Rodolfo Zanetti on piano and Emilio Teubal on bandoneon, a type of concertina essential to most tango ensembles. Tickets are $20, and proceeds will benefit Music for Montauk.

The “Carnival of the Animals” concert, the biggest of the series, will start next Thursday at 6:30 p.m. at Third House in Montauk County Park. The program will feature Saint-Saens’s suite of colorful musical caricatures, written for a chamber ensemble of two pianos, strings, winds, and percussion. Admission to the family-friendly program is free, and guests can take their own wine and picnics.

Salon Espanol, a benefit program of Spanish-inspired music performed on guitar, string quartet, and vocals, will be held at a private residence from 6 to 9 p.m. on Friday, Aug. 14. The music will be accompanied by tapas prepared by a local chef and wines selected by a sommelier. Tickets to the benefit, which are $150 and limited to 50, can be purchased at musicformontauk.org.

A free concert of American music will conclude the series at Third House at 6:30 p.m. on Saturday. The program will include Antonin Dvorak’s “American Quartet” for strings as well as Charles Ives’s Violin Sonata No. 4, Aaron Copland’s “Old American Songs,” and Lou Harrison’s “Estampie” for string quartet. Wine and picnics can provide nonmusical accompaniment.

On Friday afternoon, Chris Harmon of East Hampton, one of the more outstanding surfers to grow out of Long Island waves, crouched, nearly knelt, before a finely shaped length of fiberglass-coated polyurethane foam, virtually flat, the nose of it pointed with a forked tail, two fins, a red deck, and white bottom.

“It’s exactly like my board. The board I’m riding now. It’s the same board,” he repeated. “I’ve got to see the bottom. Can I see the bottom?” The answer was “no,” but he understood.

The 8-foot-8-inch surfboard  is an early twin fin shaped by the late Ricky Rasmussen of Westhampton — Mr. Harmon’s predecessor in the outstanding local surfer department — for Tony Caramanico of Montauk in 1981.

The board lay within the no-touch zone among 40 other beautiful statements of form and function — some new, some more than a century old. Together they make up the “Surf Craft: Design and Culture of Board Riding” installation at LongHouse Reserve in East Hampton.

Friday’s opening was attended by at least 100 folks, a mix of knowing and appreciative surfers, as well as unknowing yet obviously wowed non-surfers. The shapes may have been foreign, but they spoke to that part of the brain that senses a purpose behind the design, something studied, the result of trial and error. They are examples of that mystical place where form and function meet and become art. 

The show presents three examples of Bob Simmons designs that he brought to life in balsa and fiberglass resin in the 1950s. Mr. Simmons revolutionized surfboard design by abandoning the 100-pound, solid wooden boards that grew out of Polynesian history in favor of boards that were lighter by virtue of materials developed during World War II and the hydrodynamic theories of a naval architect named Lindsey Lord. Mr. Lord was brought into the government fold after Uncle Sam realized it was his flat-bottomed planing hulls that permitted rumrunners to outpace the Coast Guard during Prohibition.

Richard Kenvin, a “surf historian” who curated the collection of boards from the early-20th century, was on hand Friday “talking story,” as surfers say. When asked, he said it was the “Simmons on the left,” a balsa twin fin (Simmons also proved the utility of a skeg or fin for turning and stability) that he would choose if he could have only one board from the collection — a tough choice.

He said the Lis Fish would be his second choice, another revolutionary design shaped by Steve Lis, a surfer, in the early ’70s.

There are the groundbreaking (or is it “water-breaking”) designs of George Greenough, discs that seemed Japanese in their simplicity, that are ridden on one’s knees. There is another kneeboard interpretation by Terry Hendricks called Isurus, Greek for mako shark, a board that at first looks like a piece of bark from a tree but is a crude, yet beautiful, wave rider carved from a log by an anonymous surfer in Sao Tome on the equatorial coast of West Africa.

The boards in the LongHouse show represent only about a third of those featured in a coffee-table book Mr. Kenvin has edited. The California native began surfing in 1970. He does not own all the boards on display. They are from private collections, but Mr. Kenvin admitted he was a surfboard hoarder who has ridden all the boards he hoards, a number he could not quite bring to mind.

He said his fascination with surfboard design began with 12 years of research on Bob Simmons that blossomed into a 2012 exhibition in San Diego called “Pacific Standard Time,” part of an effort by the Getty Museum to collect and interpret the art of Southern California.

Mr. Kenvin said that by then he had visited the Bishop Museum in Honolulu and discovered and studied “The Unknown Craftsman: A Japanese Insight Into Beauty” by Soetsu Yanagi and Bernard Leach, a book about the philosophy of design, “and how it, craft and design, went into the industrial age, how it all fits together, and how it relates to surfing. One thing led to another and I was asked to curate a show. It was called ‘Surf Craft’ at a museum in Balboa Park.”

To Mr. Harmon, the red Rasmussen is a totem, a shape with powers that convey not only its own place in surfing history but one that also expresses a personal relationship with the sea and its waves that he could obviously feel by simply gazing upon it.

Not everyone will have that level of appreciation, and yet visitors to the “Surf Craft” show, set as it is within the extraordinary beauty of LongHouse Reserve, will leave realizing they know art when they see it.

The fascinating story of every board is presented in easily read plaques, and there is a video screen where visitors can watch the shapers do their thing. The show, installed with the help of Michael Rosch and Scott Bluedorn, will run through Oct. 10.

The Bridgehampton Chamber Music Festival is off to an auspicious start with two concerts of contrasting music that drew and delighted capacity audiences.

On July 29, a beautiful, 80-plus-degree evening, the festival kicked off its 32nd season with an outdoor concert of summery impressionistic music. An estimated 300 people sitting under a large tent and another 500 or so, many with picnics, spread out on folding chairs or blankets on the lawn of the Bridgehampton Museum, heard strains of late-18th-century and early-19th-century France. The annual event was offered as a free gift to the community, with the support of the Bridgehampton National Bank.

There were many veterans of the festival in attendance, but for first-time visitors, Marya Martin, its artistic director, said the evening was meant to offer “a taste of who we are, what we play, and what we do.” The program was appropriately called “Enchanté,” as in “pleased to meet you,” and throughout the evening listeners could not help but see and hear the word as meaning “enchanted” as well.

The composers represented — Roussel, Fauré, Ravel, Debussy, and to a lesser extent Saint-Saens — developed a style in reaction to the culmination of German Romanticism, which they saw as heavy, formal, and oversized. Their music became lighter, freer in form, more poetic, more sensuous and fantasy-like.

Seven outstanding instrumentalists appeared during the concert in various combinations: Ms. Martin on flute, Romie de Guise-Langlois on clarinet, Bridget Kibbey on harp, and a string quartet made up of Kristin Lee (making her debut festival appearance), Amy Schwartz Moretti, Tien-Hsin Cindy Wu, and Nicholas Canellakis.

The repertoire was a perfect fit for the setting. The Allegro from Roussel’s “Serenade for Flute, Violin, Viola, Cello, and Harp” was wispy and fanciful. An elegant combination of two instruments and players was featured in the “Fantaisie for Violin and Harp” by Saint-Saens, and the rendition was impassioned and virtuosic. In three transcriptions of Debussy’s shorter works all seven instruments were heard, an ideal combination for the composer’s pastel colorings. It was especially good to hear the warm, full tones of the clarinet in a solo role.

Fauré’s “Sicilienne for Cello and Harp” featured another lovely combination, and I enjoyed the full-bodied cello coming to the fore. The evening closed with Ravel’s “Introduction and Allegro for Harp, Flute, Clarinet, and Strings,” again with all seven players on the stage, with the textures sounding much fuller and more orchestral.

Although the weather was pleasant enough, the heat and humidity could have presented challenges for the performers as well as their instruments, which can be finicky under such circumstances, but these adverse conditions did not seem to be a problem. Playing in the dry acoustics of an outdoor tent (with a tasteful modicum of amplification) is also less satisfying and more challenging for musicians than playing in the fine acoustics of their usual venue, but nevertheless the nuances, articulations, and subtleties came across quite well.

There was occasional noise from cars, trucks, and motorcycles on Montauk Highway that apparently did not distract the players but, unfortunately, a few times did cover up a beautiful quiet passage.

By contrast to the enchantment of the first program, the concert on Sunday, featuring the music of Bach and Mendelssohn, was solid, formidable, and brilliant. The program, at the festival’s usual venue, the Bridgehampton Presbyterian Church, drew a sold-out crowd. In fact, extra chairs were placed at the front, stage left, and in the back.

Sunday’s performance brought together Ms. Martin, Ms. Lee, Ms. Moretti, Ms. Chu, Mr. Canellakis, Jeffrey Beecher on double bass, and Kenneth Weiss on harpsichord for Bach’s Suite No. 2 in B minor. Consisting of an overture followed by six contrasting dance movements, the music was sprightly, clear, well balanced, and elegant, giving a feeling that all is right with the world. The last movement was a breathtaking tour de force for the flute that was masterfully played.

In Bach’s Harpsichord Concerto in D major, Mr. Weiss played the virtuoso solo part impeccably, with artistry and mastery, and the sound of the harpsichord was quite charming and engrossing.

However, a question for performers playing baroque music is, do you play it on modern instruments or period instruments? In this case, the harpsichord was one modeled after the smaller, delicate baroque sound, while the five string instruments were the fuller, richer, and more dynamic modern instruments that we are used to. So, to my ears the strings, while sensitively played, overpowered the sound of the harpsichord. (Often the piece is played on a modern piano, and called, anachronistically, a piano concerto.)

One solution might have been to have the harpsichord placed in front of the strings rather than behind them, so its sound might have come out more.

Closing the program was Mendels­sohn’s Octet for Strings. Written when he was only 16, it is an amazingly mature work with great imagination and originality. The second movement, Andante, played in such consummate and artistic hands, had a breathtaking range of emotion and expression. In the closing two movements, each player in turn had demanding and exacting passages, played with a dazzling, edge-of-the-seat intensity that brought the audience to its feet at the end.

The festival continues through Aug. 23, highlighting the great and beloved composers and repertoire combined with a good mix of the new and different. Here are a few unusual items coming up:

A new piece that is a tribute to the late comedian Robin Williams will be premiered at the church on Sunday, at 6:30 p.m. It was written by Kevin Puts, who won a Pulitzer Prize in music in 2012 for his opera “Silent Night.” “Rounds for Robin” is scored for flute and piano, and is “at turns impish, florid, rhapsodic, and brooding,” according to the composer.

Mr. Puts has been featured often on B.C.M.F. programs, and the latest CD on the festival’s own label is entirely of his music.

A recent composition by Mohammed Fairouz commemorating the 50th anniversary of the Selma-to-Montgomery marches as well as the 150th anniversary of the end of the Civil War, called “Deep Waters,” will be heard at the Parrish Art Museum in Water Mill on Monday at 6:30 p.m. Mr. Fairouz is an Arab-American composer involved with major social issues who seeks to promote cultural communication and understanding, according to his website. He has had commissions from a number of leading orchestras and chamber ensembles, and blogs about “the intersection of arts and international affairs” for The Huffington Post. The all-American program includes Bernstein, Copland, and Gershwin.

And, on Aug 14, Stravinsky and — Pink Floyd? Almost. The Pink Floyd legend Roger Waters, who Ms. Martin called “one of the great poets of all time of rock music,” and who has a house in Bridgehampton, has adapted and updated the narrator’s part of Stravinsky’s “The Soldier’s Tale” to “breathe contemporary life into the text,” according to a release. The piece, for narrator and a septet of instruments, is based on a Russian folk tale about a fiddle-playing soldier and his encounters with the devil. Mr. Waters will be the narrator for the performance, which is the annual Wm. Brian Little Concert, named for the late B.C.M.F. board member and dedicated this year to the memory of Walter Channing. The concert will take place in the sculpture garden of the Channing Daughters Winery in Bridgehampton. Tickets cost $100, $150 for reserved seating

There is much more about the programs as well as ticket information at bcmf.org or 537-6368. There are seven more concerts left in the series; I would think that serious music-lovers would be eager to get their fill of the finest.

“Grey Gardens: The Musical,” the story of Big Edie and Little Edie Bouvier Beale, will open a three-and-a-half-week run at Bay Street Theater in Sag Harbor starting Tuesday at 7 p.m. and continuing through Aug. 30.

Betty Buckley and Rachel York will star in the story of the eccentric aunt and cousin of Jacqueline Kennedy Onassis, based on the 1975 documentary by Albert and David Maysles. Set at the Bouvier mansion in East Hampton, the musical tracks the journey of Big and Little Edie from glamorous aristocrats to recluses living in a crumbling house full of memories and cats.

The cast will also include Gracie Beardsley, Matt Doyle, James Harkness, Sarah Hunt, Simon Jones, and Dakota Quackenbush. Michael Wilson will direct.

 Performances will take place Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8, with 2 p.m. matinees on Aug. 12, 16, 19, 23, 26, and 30. Tickets are priced from $62.55 to $85.

“Big Noise From Winnetka,” a concert by Christine Ebersole, a two-time Tony Award winner, will take place at Bay Street on Saturday at 8 p.m.

The versatile actress and vocalist began her career as an understudy on Broadway, then worked in television on “Ryan’s Hope” and “Saturday Night Live” before taking her talents to Hollywood, where she appeared in “Amadeus,” “Tootsie,” and “Richie Rich.”

She returned in 2001 to the Great White Way, where she won Tonys for “42nd Street” and “Grey Gardens: The Musical.” She also starred in “Dinner at Eight” and “Steel Magnolias.” When not on Broadway, she brings her act to concert halls and cabaret venues. Tickets to the program range from $69 to $129.

Tonight at 8, Guild Hall’s Rock Cinema series will present “Aerosmith Rocks Donington,” a documentary that captured the rock group’s concert at the 2014 Download Festival in Leicestershire, England. According to the group’s guitarist, Brad Whitford, “Sometimes, stuff live will get lost or cluttered. On this particular show, you are hearing it exactly as it happened.” Tickets are $12, $10 for members.

Rock will yield to opera tomorrow evening at 7, when Bob Balaban will interview Susan Stroman, who directed and choreographed “The Merry Widow” at the Metropolitan Opera. The conversation will be followed by an encore screening of The Met: Live in HD’s film of the Jan. 17, 2015, performance of the opera, which starred Renee Fleming as the femme fatale who captivates Paris. Sir Andrew Davis conducts. Tickets are priced at $30, $28 for members.

Another maestro will be in the John Drew Theater Sunday morning at 11 when “Stirring the Pot: Conversations with Culinary Celebrities” features Gregory Zakarian in conversation with Florence Fabricant, a food writer for The New York Times and author of 11 cookbooks.

Mr. Zakarian is a Michelin Star-winning chef whose current restaurants include the Lambs Club and the National in New York and Tudor House in South Beach. He appears regularly on Food Network’s “Chopped,” “Iron Chef America,” and “The Next Iron Chef.” Tickets are $15, $13 for members. A 10 a.m. V.I.P. reception and continental breakfast raise the tariff to $75 and $50.

On Wednesday at 7 p.m., a benefit for the Surfrider Foundation Eastern Long Island Chapter’s Blue Water Task Force will include a screening of “The Fisherman’s Son,” a documentary about a world-class surfer from Chile who has dedicated himself to preserving his home waters from development. A raffle, a beach creatures touch tank, and other programs will fill out the evening, for which tickets are $20.

Click for Guild Hall’s upcoming staged reading of “Steinbrenner”

Ira Berkow and Bill Madden have spent the last four years perfecting a play about the late George Steinbrenner, the owner of the New York Yankees baseball team who often seemed larger than life.

A staged reading of the play “Steinbrenner,” which is based on the 2010 book “Steinbrenner: The Last Lion of Baseball” by Mr. Madden, is set for Sunday at Guild Hall in East Hampton Village. Richard Kind, of “Gotham” and “Spin City” fame, will star as Mr. Steinbrenner after having read the part twice during productions at New York City’s Roundabout Theatre. Zach Grenier (“The Good Wife,” “Fight Club”), Catherine Curtin (“Orange Is the New Black”), Duane McLaughlin (“As the World Turns”), Marc Coffin, and Danny Fischer will also read in the show.

For years, Mr. Berkow and Mr. Madden had been friendly competitors as writers for The New York Times and The Daily News, respectively. Mr. Berkow congratulated Mr. Madden for a job well done on his book about Mr. Steinbrenner and suggested it might make a fantastic drama, at which point Mr. Madden suggested they work together.

“We combined our knowledge, which covers more than 50 years,” Mr. Berkow said the other day. “We wanted to tell a good, dramatic, compelling, entertaining story with humor, with pathos, and with insight. It’s the evolution of, essentially, an American icon.”

Mr. Steinbrenner bought the Yankees for $10 million in 1973 and embarked on what some have described as a “monomaniacal” quest to raise the once-great team back up to its former glory. His tactics were often controversial, but they paid off. The Yankees won seven world series under his watch and today are worth more than $1 billion.

The reading at Guild Hall is not merely a chance for the two writers to engage an audience in an experience: It also represents a turning point for the play itself. Mr. Berkow, who has won a Pulitzer Prize and also wrote the acclaimed documentary “Jews and Baseball: An American Love Story,” said the performance on Sunday would be the first for which tickets would be sold rather than given away for free, as was done for the two readings at the Roundabout Theatre.

“It’s really going to be exciting in Guild Hall,” Mr. Berkow said. “Richard Kind is nothing short of sensational. . . . He makes Steinbrenner come alive with all the passion, all the fury, all the humor, all the complexities. Steinbrenner was a very complex man, and that was one of the challenges, to get this complexity.”

The show is scheduled for 8 p.m. Tickets range from $28 to $50 and are available by calling 324-0806, at the box office at Guild Hall, or online at GuildHall.org and theatermania.com.

“All is well here in New York City,” Garland Jeffreys reported by telephone on a recent morning. Mr. Jeffreys, a Brooklyn native who could fairly be called the quintessential New York City musician — more so perhaps than even Lou Reed or the Ramones — was busy working up songs for a new release, the next in what has become one of the most prolific periods of a nearly five-decade career.

Coinciding with an upcoming family vacation in Springs, Mr. Jeffreys will soon return to the Stephen Talkhouse in Amagansett, taking the stage Thursday at 8 p.m. It will be another stop on what is effectively a world tour in support of 2013’s “Truth Serum,” a strong collection of the multiracial, multidimensional artist’s unique alchemy of rock ’n’ roll, blues, reggae, and soul, and its immediate predecessor, 2011’s “The King of In Between.”

The artist’s creative renaissance followed a 14-year span between releases, a result in large part of the birth of his daughter. “She’s now 19,” he said. “She’s got it going on — very smart, intelligent, perceptive, all the ingredients you’d want in your child. But what’s really exciting in my life, apart from family, is performing, performing, and performing.”

That pursuit has recently taken him to multiple festival dates in Canada, and to the United Kingdom, where Led Zeppelin’s legendary guitarist and producer Jimmy Page attended a concert (“He was quite friendly, warm, a sweetheart of a guy,” Mr. Jeffreys recalled). Upcoming dates are scheduled in Japan and Australia. “I’m thrilled about making this new album, and then I’m going to get back to touring,” he said. “I get tremendous pleasure and joy from performing. I have a really great Canadian audience. People love to hear live music. They come out for me, and I’m looking forward to going back in December.”

In “Truth Serum,” Mr. Jeffreys continues an exploration of race relations, and racial divisions, in songs like “Colorblind Love” and “Any Rain” (“I was thinkin’ about the human race/And wishin’ we could reconcile/Live and let live is it too much to ask”). Race, he said, “has always been a subject that I have been moved to embrace and learn about. My own racial complexity, coupled with my interest in the world of people, makes me very concerned with how people of color are getting on.”

Mr. Jeffreys referred to the “bizarre incident” in Charleston, S.C., that had so recently shocked the nation. “It was like from an ancient period,” he said of the murder of nine people in an African-American church in Charleston. “But it tells you it’s right around the corner.” He also recalled that he was in Ferguson, Mo., for a gig on the day that a young African-American man was shot and killed by a white police officer, sparking prolonged unrest.

Fortunately, he said, “There is a strong spirit in the air for people who are really, really conscious in modern times about race. They see the horror, the ugliness of it. It may not seem like there are a lot of supporters at this time, but there are.”

Sonically, Mr. Jeffreys remains true to his prior recordings and those of contemporaries like the late Mr. Reed, who contributed vocals to a track on “The King of In Between.” “I love to lay the vocal track down while the track is being put down,” he said, describing a spontaneous, organic process rare in modern music production. “I find that the most exciting way to get a rendition: the band is playing, they’ve learned the song, and now it’s time for a take. Often for me, it’s the first or second take — ‘Truth Serum’ and ‘King of In Between’ were all one and two-take performances.”

 “To me,” he said, “that’s what it’s about, the spirit and the energy, the excitement of that first go. On occasion, you find a glitch, but you keep it because the overall take is brilliant.”

Tickets for Garland Jeffreys at the Stephen Talkhouse are $25 and $40.

New From Bryan Hunt

“Flyby,” an exhibition of new works by Bryan Hunt, will open tomorrow at the Drawing Room in East Hampton and run through Sept. 6. The new works, which focus on space exploration, astronomy, and celestial bodies, consist of large and small paintings, wall reliefs, and ceramic sculptures, all of which reflect the artist’s lifelong interest in matters galactic.

Throughout his four-decade career, in his “Airships,” “Waterfalls,” “Lakes,” and “Monuments” series, Mr. Hunt’s sculpture has addressed the physical elements of earth, wind, water, and our interaction with them through advances in industry, scholarship, and technology. He lives and works in Wainscott.

Hinting at the Zeitgeist

The Eric Firestone Gallery in East Hampton will open “All Killer No Filler,” a group exhibition of work by 11 artists, both emerging and established, with a reception Saturday from 6 to 9 p.m. The show, which will remain on view through Sept. 6, will include a variety of artistic practices, mediums, and narratives.

Participating artists — who “hint at the zeitgeist of our time,” according to the gallery — are Shoplifter/Hrafnhildur Arnardóttir, Derrick Adams, Rosson Crow, Sylvie Fleury, Rico Gatson, Michelle Grabner, Carlos Rolon/Dzine, Miriam Schapiro, Tony Tasset, Nari Ward, and Wendy White.

Confections at Nightingale

“True Confections,” an exhibition of work by Monica Banks and Christa Maiwald, will open today with a reception from 6 to 8 p.m. and remain up through Sept. 3.

Ms. Banks’s miniature porcelain figures, including people, bees, mice, birds, and teacups, depict organic forms on the threshold between life and death, or figures who are suffering. She will also exhibit porcelain cakes and cake stands-as-pedestals.

Ms. Maiwald will present works from her “Landscape Cakes” series, for which she bakes elaborate cakes that are inspired by specific land and seascapes and then photographed in nature. Slices of cake will be given to visitors. She will also show work from her hand-embroidered “Cats” series.

Yektai at Tripoli Southampton

The Tripoli Gallery in Southampton will open “Touch Thoughts,” a solo show of new work by Darius Yektai, with a reception today from 6 to 8 p.m. The exhibition will be on view through Aug. 24.

For Mr. Yektai, who lives in Sag Harbor, each touch — a brushstroke of thick paint or a groove carved into wood — is an expression of a thought that can be premeditated or spontaneous. He not only works in different mediums but also combines them in ways that blur the boundaries between painting and sculpture. His use of materials such as oil, concrete, wood, and resin is gestural and expressive.

Art at Whaling Museum

The Sag Harbor Whaling Museum will present “East End Artists: Then and Now,” an exhibition organized by Peter Marcelle, from tomorrow through Aug. 23. The opening reception will happen tomorrow from 6 to 8 p.m.

The show includes both contemporary artists and their East End predecessors, among them Linda Alpern, Peter Beard, Miriam Dougenis, Robert Gwathmey, Tracy Harris, Jimmy Ernst, Anna Jurinich, Roy Lichtenstein, Alfonso Ossorio, Louise Peabody, and Frank Wimberley. Proceeds from sales will benefit the museum’s ongoing capital campaign.

Amagansett Artists

The Amagansett Historical Association will also open an exhibition of art created by past and present residents, tomorrow at the Jackson Carriage House off Windmill Lane. An opening reception for “Amagansett Art: Across the Years” will take place tomorrow from 5 to 7 p.m.

The show, which aims to highlight the role of Amagansett in the East End art colony and to raise money for the maintenance of the association’s historical site, will include work by Nicole Bigar, Ralph Carpentier, Lucy Cookson, Kate Davis, Elliott Erwitt, Robert Harms, Janet Jennings, Vincent Longo, Pamela Morgan, Claire Nivola, and Michelle Stuart.

New at Mark Humphrey

The Mark Humphrey Gallery in Southampton will present “Covalence,” an exhibition of work by Alex Nero and Parker Calvert, from tomorrow through Aug. 20, with a reception set for Saturday from 5 to 8 p.m.

Mr. Nero’s recent work focuses on the chemistry and physical dynamics of paint within vessels of water, the striking and otherworldly results of which are captured by digital photography.

Mr. Calvert’s archival C-prints reflect his lifelong interest in photographic processes and their ability to capture light and energy in motion and transform them into abstract images of kinetic beauty.

“Nature’s End” in Sag

“Nature’s End,” an exhibition featuring three artists with different approaches to the natural world, will open Saturday at Dodds and Eder Home in Sag Harbor and remain on view through Sept. 22. A reception will be held Saturday from 5 to 8 p.m.

Gary Bartoloni uses infrared film to create images with a tonal range that makes auras around its subjects. James Johansen is also interested in the atmosphere of light, which he captures in his oil paintings of waves and seascapes. From various images taken outdoors, James Slezak creates collages in Photoshop that reflect his training as a graphic artist.

Ben Fenske at Grenning

The Grenning Gallery in Sag Harbor will present a solo show of paintings by Ben Fenske from Saturday through Aug. 23, with a reception set for Saturday from 6:30 to 8 p.m.

Mr. Fenske creates landscapes, portraits, interiors, and still lifes whose realism is tempered by his striking use of hot colors and his expressionistic, gestural handling of paint.

Meet Joseph Eschenberg

Next up in the “Meet the Artist” series as GeekHampton in Sag Harbor is Joseph Eschenberg, whose work will be on view at the Apple specialist store through Aug. 29. A reception and presentation by the artist will be held Friday, Aug. 14, from 6 to 8 p.m.

The series of exhibitions focuses on artists who use technology in some aspect of their work. Mr. Eschenberg’s digital photographs and mixed-media works use bright colors to lend a Pop aspect to his images of East End scenery.

Visionary Project at Borghi

The Mark Borghi Gallery in Bridgehampton will host the Visionary Art Project, a collaboration between Mia Morgan, a stylist, and Georgina Billington, a makeup-body paint artist, from today through next Thursday, with a reception happening this evening from 6 to 8.

Working with Lindsay Adler, a photographer, Ms. Morgan and Ms. Billington have created images that “expand human consciousness through visionary art inspired by shamanism, sacred geometry, fashion, and beauty,” according to the project’s website.