The “Big Show” Returns

The Silas Marder Gallery in Bridgehampton will open for the 2015 season on Saturday with the ninth annual iteration of its “Big Show.” A reception with live music by the Peter Watrous Trio will take place Saturday from 4 to 8 p.m., and the show will run through June 20.

This year, 51 artists were commissioned to make three 8-by-10-inch paintings for the exhibition, without any directions other than to work from their current series. Among the materials employed with the format are concrete, steel, acrylic polymer, textile, weaving, and industrial detritus.

Participants include Sydney Albertini, Eric Brown, Richmond Burton, Don Christensen, Louise Eastman, Virva Hinnemo, Laurie Lambrecht, Gerson Leiber, Vincent Longo, Miguel Martinez Riddle, Christine Scuilli, Wendy Small, and Ross Watts.

New at Halsey Mckay

The Halsey Mckay Gallery in East Hampton has two new exhibitions on view through May 31. “Magic Mushrooms” features the work of Polly Apfelbaum and Joanne Greenbaum, and “Moon Mutt” is a solo show by Matt Rich.

Ms. Greenbaum’s paintings reveal the intricate play of forms, cutout shapes, negative spaces, drawing, and application of materials, but their compositions and palette can vary dramatically from painting to painting. Ms. Apfelbaum’s site-specific installations of suspended terra-cotta and porcelain beadworks show “a kindred use of color and similarly virtuosic handling,” according to the gallery.

Mr. Rich’s second solo exhibition at the gallery features new paintings made on a combination of thick paper, thin wood, and canvas. The absence of a unified backing or predetermined scale leads to compositions that activate the walls with rich spatial dynamics.

Dan Rizzie at Marcelle

A solo show of paintings by Dan Rizzie will open Saturday at the Peter Marcelle Project in Southampton with a reception from 6 to 8 p.m. It will remain on view through May 31. Mr. Rizzie will attend the opening, which is also a celebration of “Dan Rizzie,” the first monograph on his work, just published by the University of Texas Press.

Mr. Rizzie, who has lived on North Haven since 1989, draws inspiration for his work from a variety of sources, including 20th-century modernism, the geometry of Cubism and Minimalism, 19th-century English botanical illustrations, and the floral and geometric forms of traditional Indian and Egyptian art.

Two From Southampton

The Southampton Historical Museum will open two long-running art exhibitions tomorrow with a reception from 4 to 6 p.m. Both “Into the Deep,” a show of paintings by Paton Miller, and “Views of Southampton,” paintings by Pat Garrity, will be up through Oct. 17.

After traveling the world from his home in Hawaii, Mr. Miller washed up on the shores of the East End in 1974 and now divides his time between Southampton and Costa Rica. His art reflects the range of his travels and experiences, filtered through an observant and expressive sensibility.

Ms. Garrity’s oil paintings incorporate the beauty and light of eastern Long Island. Also a Southampton resident, she captures the landscapes and architecture of the region and their transformation through the four seasons.

Art Fairs Draw Local Galleries

A number of East End galleries will participate in several of the many art fairs taking place in New York City from today through Sunday. Birnam Wood Gallery of East Hampton and Mark Borghi Fine Art of Bridgehampton will have booths at Art Miami New York on Pier 94.

Three East Hampton galleries —Halsey Mckay, Eric Firestone, and East Hampton Shed — will be present at the Nada Art Fair, which will be held at 299 South Street. Sara Nightingale will relocate for the long weekend to the Select Art Fair in the former Dia Foundation building on West 22nd Street.

Clifford Ross

“The Abstract Edge: Photographs, 1996-2001,” a solo exhibition of work by Clifford Ross, will open today at Ryan Lee Gallery in Chelsea with a reception from 6 to 8 p.m. and run through June 27. The show will feature two related series, “Waves” and “Grain,” in which the artist began to push photography from an image-centric medium to one that can reconcile abstraction and experience.

A busy man, Mr. Ross will be in North Adams, Mass., next weekend for the opening of “Landscape Seen and Imagined,” a major midcareer survey at MASS MoCA, on May 23 from 5 to 6:30 p.m.

The exhibition will be held in two buildings, six galleries, and an exterior courtyard. Two of the featured works will be a 24-by-114-foot photograph on raw wood that spans the museum’s tallest gallery and an immersive installation of animated video on 12 screens, each 24 feet tall.

The main room will be open through February 2016, the Hurricane Room and Wave Cathedral through Sept. 8.

Pritam & Eames in Maine

Pritam & Eames, which closed its Race Lane gallery in East Hampton last fall after 33 years, will open tomorrow at the Gallery at Somes Sound in Somesville, Me., on Mount Desert Island. As it did in its previous incarnation, the gallery will showcase studio furniture by 25 artists as well as painting, lighting, ceramics, jewelry, glass art, and metalwork.

Five at Ashawagh

“The Hampton Project,” a show of local artists whose work is inspired by the region’s landscape, life, and light, will be on view at Ashawagh Hall in Springs on Saturday from 9 a.m. to 7 p.m. and Sunday from 10 to 5. A reception will be held Saturday from 4 to 7.

    Richard Mothes, Jane Cerami, Christina Joy Friscia, Jennifer Satinsky, and Brian Monahan are the participating artists.

Art at c/o the Maidstone

The annual art exhibit at c/o the Maidstone in East Hampton will open with a reception Saturday from 5 to 6:30 p.m. This year’s show will feature pieces from the collection of Jenny Ljungberg, owner and creative director of the inn, which includes work by Jacob Fellander, David Lynch, and Sam Taylor-Johnson. The exhibition will remain on view through December.

Ellen Watson at GeekHampton

GeekHampton, the Apple computer specialist in Sag Harbor, is presenting photographs by Ellen Watson through May 30, with a reception set for tomorrow from 6 to 8 p.m. Ms. Watson’s photographs are inspired by vintage postcards but use 21st-century technology. Many of the photographs feature local farms, a reflection of her interest in the farm-to-table movement.

Beer for Bluedorn

Scott Bluedorn’s designs and sketches for two Greenport Harbor Brewing Company labels will be on view in “Message on a Bottle,” an exhibition at the brewery’s Carpenter Street location in Greenport. Mr. Bluedorn lives in East Hampton.

The show will open Saturday from 6 to 9 p.m. and will remain on view through July 20.

“Hay Fever,” Noel Coward’s comedy of bad English manners, will conclude the 30th anniversary season of the Hampton Theatre Company with a run from next Thursday through June 7 at the Quogue Community Hall.

Written in 1924 and premiered in London the following year, “Hay Fever” revolves around the four members of the eccentric Bliss family, who are spending a weekend at their country home. Without informing the others, each of them has invited a guest of the opposite sex to visit.

After a hapless after-dinner parlor game breaks up quickly the first evening, each family member winds up alone with his or her guest. Flirtation, kissing, and theatricality follow, after which the Blisses act out a melodramatic scene that leaves their guests confused and horrified.

The following morning the guests discuss how uncomfortable they are and how bizarre the family is, and decide to return to London. While they are packing, the Blisses come downstairs and become embroiled in an argument about the geography of Paris. As they hear the slam of the door and realize their guests have left, they briefly comment on the visitors’ rude behavior and then resume the altercation.

The play was inspired by Coward’s visit to the home of Laurent Taylor, an American actress, where he encountered an overly theatrical lifestyle. He wrote the play in three days. According to Charles Spencer, a critic for The Telegraph, “ ‘Hay Fever’ is a comic masterpiece, with a fizzing wit and lightness of touch that is in the great tradition of high English comedy.”

Two HTC veterans, Rosemary Cline and Andrew Botsford, play the Bliss parents, a retired stage actress and a self-absorbed novelist. Gabriela Campagna and Bobby Peterson, both newcomers to the company, portray their children. Rounding out the cast are Matt Conlon, Jane Cortney, Anthony Famulari, and Amanda Griemsmann as the unfortunate guests.

Diana Marbury, the company’s artistic director, not only directs the production but also plays Clara, the Blisses’ housekeeper. Set design is by Peter Tolin-Baker, lighting by Sebastian Paczynski, and costumes by Teresa LeBrun.

Show times are Thursdays and Fridays at 7 p.m., Saturday evenings at 8, and Sundays at 2:30 p.m. Tickets are $25, $23 for senior citizens (except Saturdays), and $10 for students under 21. Dinner and theater packages will also be available. More information can be found at hamptontheagtre.org.

A screening of the National Theatre Live presentation of Arthur Miller’s play “A View From the Bridge” will take place at Guild Hall on Saturday at 7 p.m. A production of the Young Vic Theatre in London, where it sold out before it opened, the play stars Mark Strong as Eddie Carbone, a Brooklyn longshoreman, and is directed by Ivo van Hove of Toneelgroep Amsterdam in the Netherlands.

First produced in its current version in London in 1956, the play is driven by Eddie’s obsession with Catherine, his 17-year-old niece. The arrival from Italy of two of his wife’s cousins as illegal immigrants is at first welcomed by the Carbone family, but when one of the cousins, Rodolpho, begins dating Cath­erine, Eddie’s jealousy leads to tragic results.

Prior to writing “A View From the Bridge,” Miller was working on a screenplay for Elia Kazan set on the Brooklyn docks. The original film did not get made, but Kazan later directed “On the Waterfront,” set in the same milieu.

Tickets are $18, $16 for members.

The Rising Stars Piano Series at the Southampton Cultural Center will present a concert by Fei-Fei Dong, a Chinese pianist who won the 2014 Concert Artists Guild Victor Elmaleh Competition, on Saturday at 7 p.m.

Ms. Dong, who will perform works by Chopin and Mozart-Liszt, has played at Alice Tully Hall as the winner of Juilliard’s 33rd annual William Petschek Recital Award and as a soloist with the Juilliard Orchestra, the Aspen Music Festival Orchestra, the Corpus Christi Symphony, the Fort Worth Symphony, and the Hong Kong Philharmonic, among others. Admission is $15, free for students under 21.

The cultural center will also offer a two-night workshop devoted to all aspects of preparation for auditions on May 18 and 19 from 6 to 8:30 p.m. Michael Disher, director of the organization’s Center Stage, and Amanda Jones will cover what directors like and don’t like to see in auditions, finding the proper music and monologue, and other topics. The cost is $75.

The sixth annual Montauk Music Festival, featuring artists old and new, homegrown and hailing from as far as Texas, begins tonight with an opening party at Gurney’s Inn. From tonight until the festival’s conclusion on Sunday, Montauk will rock to more than 300 performances by some 80 acts at over 30 venues.

The festival has grown to draw many visitors to the hamlet on the weekend before summer’s unofficial start, providing its hotels, restaurants, and merchants a measurable economic boost. It promises a diversity of sounds and styles, from veteran touring artists to hopeful up-and-comers.

This year’s performers include longtime South Fork musicians like Jim Turner, the Montauk Project, Scott E. Hopson, and Jettykoon, alongside renowned artists such as Randy Jackson of the band Zebra and the Florida duo Swamp Cabbage, fronted by Walter Parks, a guitarist and vocalist who was a longtime sideman to Richie Havens. The complete schedule is at the festival’s website, montaukmusicfestival.com.

Performances are free, with the exception of tonight’s opening party. The $30 admission includes four hours of open bar, food, and live music starting at 8. Concerts on the downtown green on Saturday and Sunday, fund-raisers for charities supported by the Montauk Friends of Erin, will feature food and beverages for sale.

“It’s all about original music,” said Kenny Giustino, the festival’s founder. A longtime music fan, Mr. Giustino, who is also founder and publisher of The Montauk Sun, promoted and booked talent prior to establishing the festival. Local business owners had long discussed such a festival, he said, “but it didn’t go anywhere. Somebody approached me and said my name came up a lot in those discussions because I knew a lot of musicians. I thought it would be a great thing to do.”

Historically, the weekend prior to Memorial Day was a slow one, he said, citing hotel occupancy of around 20 percent. Mr. Giustino said that the donation of hotel rooms for the performers who travel to Montauk for the festival has imparted both geographical diversity in the lineup and, in turn, greater credibility as a significant musical event for players and listeners alike. “We have gotten to the point where the hotels are having a hard time sparing their rooms because they’re booked,” he said. “It’s all worked out, it’s a good formula — we had over 3,000 bands submit to be in it this year.”

Returning to the festival after a year away, Swamp Cabbage will be “lab-testing our new concept,” Mr. Parks said of his band, which will make its first festival appearance as a guitar-and-drums duo. With Havens, who died in 2013, Mr. Parks regularly performed at the Stephen Talkhouse in Amagansett.

In Swamp Cabbage, jazz, blues, Southern rock, and soul are melded in a uniquely American sound that Mr. Parks, a native of northeast Florida, says has found an audience for on the South Fork. “I grew up in a beach area, and Montauk reminds me of home, where the music came from,” he said. “My good friends in New York City and New England kind of process music from the shoulders up. Southerners tend to process music from the hips down. I get the feeling people are more like that in the Hamptons — maybe because it’s the sort of a place people go to unwind. It seems like the folks cut loose a little bit more.”

Mr. Giustino agreed. “The local residents really love it,” he said of the festival.

Robert Harms makes paintings you want to inhale, lie beside, wallow in. In a little cottage on Little Fresh Pond in Southampton, he bides the time, season by season, absorbing his surroundings through eyes that transmute the air and landscape into a distillation of time and place.

His paintings used to be made of thicker stuff, more in keeping with Joan Mitchell’s typical density, which no doubt came from his work as her studio assistant and his role as protégé. In more recent years, he has revealed far more white on his canvases, rarely ending his compositions anywhere near the stretcher and thinning his paints to let the white show through. This makes them airier and seemingly backlit, even when paintings such as “Snow” or “Beech Trees,” both from last year, are predominantly gray.

The newer paintings, on view at the Drawing Room in East Hampton, are smudgier over all than his other recent work, and the gallery helpfully provides a few works from a couple of years ago to show the progression. From the calligraphic lines and ribbons that dominated his work for a while, he is progressing back toward a murkier surface, even if it continues to have a sheerness of application.

There is also a sense of travel and variety in his newer subject matter. He  was never completely tied to Little Fresh Pond, although it dominated much of his work of the past decade. His bright tropical floral studies, shown in other exhibitions, or titles like “Toward the City” from 2008 or “110 Old Stone Highway” from 2010 are earlier examples of off-topic works.

Here, we have “Garden Visits” from 2012, “Noyac” from last year, and “Different Landscape” from this year. The last one is a departure in more ways than one. It is mysterious and compelling, leaving much more to the imagination than anything he painted recently. Mr. Harms often titles his works with times of the year when he is not being more specific about the objects, like beech trees, he is portraying. In this case, it is difficult to discern whether the vantage point is from above, below, or across the horizon.

Is it different because it is finally spring and the first spring colors of green and yellow, made more striking by a deeper blue sky, are apparent? It’s not clear. The white wash, which now overtakes any color underneath, is certainly different, and the viewer must strain to see the subtle shifts taking place there.

In “Beech Trees” too, the subject is so faintly suggested, and yet the trees are there, their trunks, branches, and even the leaves not too far removed from the sweeping stain that blurs the lines that were once so present and vivid. It is rather radical to see him treat oils this way. Their rich intensity, usually reserved for a more substantial application, has been thinned, brought down to the wispiness of watercolor and the powdery messiness of charcoal and pastel.

If one veers toward the poetic in describing this artist’s work, it is because his is an art of sensation and feeling. “Snow” replicates the experience of seeing the varied colors in layer after layer of the ostensibly white stuff as time and light transform it, sometimes moment to moment.

Even if you have never stood beside the pond, he can communicate its varied presentations of shadow and hue, through winter’s icy floes and summer’s crowded vegetation. He can pull those who have never swum in it under the water to examine the refracted texture of the verdure and sky around it.

There are seven paintings in the show and only five in the main room. The others — “After Winter” from 2012 and “Morning Lilies” from 2011 — are in the window and office respectively. They are plenty. The large canvases fill the walls they inhabit with their content, and the generously allotted white space between them lets them breathe and allows us to appreciate their subtleties of color, light, and shadow.

The exhibition is on view through June 1.

What was once a fixture of the Montauk cultural scene faltered recently after the death of its director in 2013. Ruth Widder ran Music for Montauk for two decades and produced more than 90 free concerts for the greater community.

There was never a question of not going on, until there was. Lilah Gosman recalled that when Bill Akin, the organization’s founder, contacted her, “he thought he would have to close, because no one wanted to grab the reins.”

Ms. Gosman, a Montauk native and vocalist who has performed at the Kennedy Center and Avery Fisher Hall, among many other venues, and her husband, Milos Repicky, a conductor and pianist at the Metropolitan Opera, had their own plans for classical musical events centered in Montauk at the time they got the call. Well aware of the financial crisis currently affecting many classical music companies, they were planning something different, something they hoped would attract not only those familiar with what had come before but also new and more demographically diverse audiences.

Mr. Akin founded the Montauk Chamber Music Society in the early 1980s, which became the nucleus for Music for Montauk. In 1991, the society shifted its focus from by-invitation concerts in private homes to free public events held at the Montauk School under the direction of Ms. Widder.

Ms. Gosman and Mr. Repicky, who were friendly with her, had participated in some of the more recent concerts. Ms. Gosman’s mother had been on the board, she said; her aunt is on it now: “We have a history with Music for Montauk.” The couple were just sorting out their own plans when Mr. Akin called. “It was the perfect pairing,” said Mr. Repicky.

They became involved about 18 months ago. Joining them on the new board are Mr. Akin, Sally Richardson, who is also the creative consultant, Rita Bonicelli, legal aide, Brendan Moffitt, treasurer, and Roberta Gosman Donovan. On May 9, a hint of what lies ahead will be revealed in the spring concert at the school.

Although the venue will be familiar to long-time devotees, the couple, who are planning six concerts in season and four in the winter, do not expect to be bound to it. “We know there’s a lot going on in Montauk in the summer, but we want to change the dynamic between the musicians and audience,” Mr. Repicky explained. “There’s a crowd that attends classical music concerts; then there is a whole bunch of people that might be interested in attending if we remove the mental blocks around it.”

By performing in other, more casual environments, they hope the concerts will feel more like happenings. Various settings are under discussion, with possibilities including the Montauk Lighthouse, Third House, and Fort Pond House. Plans for the complete season will be announced at the spring concert.

Offering a hint as to what is to come, the May 9 program is spring-focused, with Vivaldi’s “Spring‚” from “The Four Seasons‚” opening the performance and Piazzolla’s “Primavera Portena‚” from his own “Four Seasons‚” as the finale. In between will be seasonally appropriate selections from Beethoven, Tchaikovsky, and Rossini.

“The iconic piece by Vivaldi, played by a great string player in the school setting, will speak to the history of the Chamber Music Society and what Bill Akin started in the 1980s,” Mr. Repicky said. Its pairing with a 20th-century Argentinian tango for the finale is a sure signal of creative twists to come. “We want to make it fun and engaging,” said Ms. Gosman.

Thomas Bohlert, a music writer for The Star, called the pairing at beginning and end “sure to be a crowd-pleaser,” and applauded the rest of the program as well. “Beethoven’s much-loved Sonata for Piano and Violin in F (Op. 24), known as the Spring Sonata, is a joyful and substantial work,” he said. “Tchaikovsky’s ‘May‚’ from ‘The Seasons,’ a series of 12 short character pieces, one for each month of the year, will be less familiar, but rounded out by two works by the ever-popular Rossini, the aria ‘Una Voce Poco Fa’ from ‘Il Barbiere di Siviglia,’ and the Sonata for Strings No. 1 in G, which in its charm shows how Rossini earned the nickname ‘the Italian Mozart.’ ”

Expect Ms. Gosman and Mr. Repicky to draw deep from their long list of friends and colleagues in the performance world, including members of the Metropolitan Opera orchestra. Performing for them in two weeks will be Rachel Calloway, a mezzo-soprano; Annaliesa Place, a violinist, Diego Garcia, a cellist, Joanna Maurer, a violinist, and Brad Aikman, a bassist.

They plan to bring in headliner musicians with a high profile, as Ms. Widder did, when it fits the concert and setting, but “we’re also trying to create a collaborative group of musicians who will work together throughout the summer and take the audience on different journeys with them,” Ms. Gosman said.

The goal, said her husband, is to “make it more personal, more involving.” If people see the same artists each time pushing their creative boundaries, they may become invested in that growth and come to the next concert to see where it will take them, he said. Speaking of the many music events already popular here, he suggested that “this is a little more egalitarian. . . . We want to get the pretension out of it. You won’t need to know about Beethoven to enjoy it.”

Education will continue to be part of the mission. Ms. Gosman, who is an educator in New York City, said that, following Ms. Widder’s lead, a shortened version of each concert will be presented at the Montauk School the day before the spring performance, with a focus on how images are created in music. While not a fan of the pre-concert lecture, she expects there to be some interchange with the musicians.

Some regular concerts at the school will put the audiences on the stage with the performers or the performers on the floor with the audience. “We want them to see the sweat on the musicians’ brow or how they are moving the bow,” Mr. Repicky said. “In a jazz concert, the bassist, drummer, and guitarist are all riffing off each other,” he said, and he wants patrons to see that classical music can provide a similar level of interaction.

Their Saturday concert takes place at 4 p.m. at the Montauk School auditorium. A reception following at 5:30 at Gosman's Restaurant is $25 in advance through the Music for Montauk website and $30 at the door.

When you think of Paul McCartney, you’ll probably think first of his musical talents. But the famed musician has contributed an original piece of fine art to a New York City exhibition and auction, opening next Thursday, that will benefit the Hayground School in Bridgehampton.

The show, dubbed “Five by Seven: Small Works, Big Artists,” brings together students and professional artists, along with actors, musicians, photographers, writers, and other celebrities. It will support the school’s tuition assistance program.

“It’s going to be pretty amazing,” said Perry Burns, a founding teacher at the school, father of two former students, and co-chairman of the event.

An art project called “Beyond Boundaries” years ago at the Hayground School is the inspiration for the new show.

In that project, students and professional artists worked together across various media to produce what Mr. Burns recalled as “a thrilling wall” of art works each measuring five inches by seven inches.

“We’re really hoping to raise money and raise awareness about Hayground,” Mr. Burns said. “It’s very arts-centered. That’s very consciously and intentionally a part of the school.”

The show will be held at Ricco Maresca Gallery, at 529 West 20th Street, with an opening reception, sale, and auction on next Thursday from 6 to 8 p.m. More than 300 works of art will be on sale for $150 each. In addition to Mr. McCartney, other well-known celebrities and artists participating include Alec Baldwin, Mary Heilmann, Maira Kalman, Ross Bleckner, Toni Ross, Eric Fischl, Donald Sultan, David Salle, Bob Balaban, Barry Sonnenfeld, April Gornik, Clifford Ross, and many more.

After a monthlong shakedown cruise, the White Room Gallery in Bridgehampton will launch officially on Saturday with a 6 to 8 p.m. group exhibition featuring work by Eric Ernst, Jim Gingerich, and Sally Breen, with music by Mama Lee. The show will run through May.

On a recent visit, Andrea McCafferty and Sally Breen, who are partners in the gallery with Daniel Schoenheimer, offered a tour of the pristine space, which was hung with a diverse blend of contemporary art including paintings, sculpture, photography, and ceramics.

Ms. McCafferty is a familiar face on the East End art scene, having started the Crazy Monkey Gallery in Amagansett in 2000. “For the first four years, I represented artists. Then it began to evolve into a cooperative, and it lasted until 2014, when a raise in rent prompted me to look for another space.”

The gallery will mount a new show every month, and there are plans for a sculpture garden in front of the building, an outdoor show of surfboard art, and a fashion-themed exhibition of wearable art.

“We want to have live music, poetry, we really want it to be a community-oriented venue,” said Ms. McCafferty, who lives in Springs and is herself an artist.

Ms. Breen, who lives in Water Mill and was a member of Crazy Monkey, is no stranger herself to the gallery world, having opened The Gallery in Sag Harbor with a friend 10 years ago.

“I realized after three years that I don’t really like being a gallerist,” she said. “I’m a painter, and that’s what makes me happy. I joined Crazy Monkey because I prefer to be around artists.” 

While many galleries have a particular “voice” or aesthetic point of view, “We’re very eclectic,” Ms. McCafferty said. “We also have a range of prices, so that anybody can come in and feel they can buy an artwork. We like offering variety.”  

Guild Hall will present National Theatre Live’s recorded performance of  “The Hard Problem” on Saturday at 7 p.m. The play is the latest by Tom Stoppard, the author of acclaimed plays and screenplays such as “Rosencrantz and Guildenstern Are Dead ”and “Shakespeare in Love.”

The action takes place at an institute for brain science, where Hillary wins a research position. She believes in God and that science cannot fully explain consciousness. Her opinions are mocked by Spike, her mentor and occasional lover; her boss, and other colleagues.

According to Susannah Clapp, a critic for The Guardian, “The ‘hard problem’ of the title is the problem of consciousness. Where is it? What is it? Crucially, is the mind the same as the brain? The joy of the play . . . is that it brings this problem to the stage and poses it crisply.”

Tickets are $18, $16 for members.

On Monday at 12:30 p.m., Ruth Appelhof, executive director of Guild Hall, will lead a discussion around selected works in the current artist-members exhibition. Admission is free, and refreshments will be served.