Lady Gaga is a musical artist with a strong visual sense who transforms herself regularly from public appearance to public appearance, record to record, video to video. Robert Wilson works with performers, composers, and writers to create highly visual, mostly musical productions.

While much was made of Gaga’s collaboration with Jeff Koons on the art work for her “Art Pop” album and the related art pieces, launch parties, and joint appearances, a more satisfying union has occurred with Mr. Wilson, the results of which are on view now at the Watermill Center.

Mr. Wilson employed his signature medium of video portraits in this alliance, working on them with the performer in London in the weeks before his show “Living Rooms” opened at the Louvre in December. The subjects in this series were taken from art in the Louvre or have strong French cultural resonance, such as Jacques-Louis David’s “Death of Marat,” the French revolutionary who was killed in his bath by Charlotte Corday.

There was a 1963 Peter Weiss play about the Marquis de Sade directing a play about Marat in an insane asylum where he was an inmate. The association with modern drama, and even a Brechtian-style musical score, may have had further resonance for Mr. Wilson’s, and the pop singer’s, own flair for the dramatic.

Lady Gaga takes up the guise of Marat, and it’s a worthy interpretation of the neoclassical David image ingrained in anyone with a hint of cultural literacy. To happen upon it just for a minute or so, it would appear the image is static, but as time passes little tics and blinks and tears appear in each of the portraits on view with more surprises worth the wait.

The other images the artist appropriates in stunning detail include Jean-Auguste-Dominique Ingres’s “Portrait of Mademoiselle Caroline Riviere‚” from 1806 and Andrea Solari’s “Head of Saint John the Baptist” from 1507. Both of these paintings are in the Louvre. And all of them, even the Ingres portrait of the teenaged girl, are about death (the subject having died not long after it was painted).

The evocation of themes of still life, specifically memento mori and vanitas, carry over into these modern recreations. Rebels like St. John the Baptist and Marat lived dangerously and perhaps courted death, but even the young and innocent are not immune to its fickle nature. In today’s culture, is there anything that evokes vanity more than pop celebrity? Lady Gaga, with her own cultish following, is a suitable icon for this kind of treatment, and her chame­leon-like transformations into these subjects is striking.

“Flying,” an unrelated image of the artist upside-down, naked, and bound in the form of Japanese shibari, is fascinating as well in this context. Throughout the exhibition Mr. Wilson merges classical imagery and its timeless themes with traditional theatrical techniques and modern high-definition technology. Here the motion is more explicit and the presentation black-and-white and lo-fi. In this context, however, the binding loses its inherent titillating properties and adopts a more meditative tone, becoming a reflection on the human spirit bound on earth, a medieval Western theme with parallels to the Tibetan Book of the Dead.

Except for the Solari work, the images are presented on single large-format high-definition screens at opposite ends of the gallery. On the walls in between, details of John’s head in the silver salver are done serially. Instead of recreating the scene entirely, in these works Lady Gaga’s features are super-imposed on the actual painting. This gives the series an eerie, animated quality, bringing to mind the rigor mortis of severed heads and the classic horror-film trope of the portrait with moving eyes.

The works are on view through Sept. 14.

If a viewer did not know that Alisa Baremboym and Gregory Edwards were newlyweds, it would soon become obvious in seeing their show at the Fireplace Project in Springs. “Contact” is a dialogue between two artists whose lives and vision have become entwined, not literally but with enough feeling to create circuits and sparks throughout the gallery space.

Ms. Baremboym was born in Russia and studied art in London and at the School of Visual Arts and Bard in New York. Mr. Edwards was born and raised on Long Island and studied at the S.V.A. and in Germany. Both artists, who are in their 30s and live in New York City, show regularly, but usually separately.

Here, it is much the same way. There is one piece, “Contact,” which is a joint installation of his painted letters on a long sheet of clear vinyl and her repurposed objects. The letters are a holdover from a recent series of Mr. Edwards’s paintings that included words and punctuation marks. Her stacked paper lanterns are large and one is malformed.

The base lantern appears as if someone sat in it, like a beanbag chair, and the insides have some kind of circuitry that activates a strobe light and creates a buzzing clicking sound, the noise old outdoor lights used to make or what a bug zapper sounds like now. A long strip of black mesh webbing, similar to the material used for a dog training leash, stretches out from the stacked lanterns to where the vinyl banner of letters that spell “C-O-N-T-A-C-T” spills down from the ceiling to the floor. The connections here are both implied and quite literal.

The alcove the piece is placed in is separated by long yellow window-tint strips that cast a sickly glow on the objects, or what Mr. Edwards might call “rancid yellow” if a previous interview is any indication. From very few elements, the artists have realized a transformative environment from the joining of their unique visions. The piece also implies that the coming together of two bodies to create contact may not always be the happily-ever-after fairy tale romantic kind. The dented lantern and the bilious yellow cast of the room hint at damage and sickness. Mr. Edwards’s flaccid banner casts other allusions.

Sometimes our world offers too much contact, and the electric noise of the piece hints at the constant buzzing of text and email alerts, a kind of pseudo-contact that is ever-present, but in many ways unsatisfying. Both artists have said they appreciate the ambiguities and multifaceted aspects of people and objects and it shows here.

Back into the reassuring glow of the gallery’s florescent bulbs, the artists return to more business as usual. Mr. Edwards displays a group of “Protein Paintings,” works in oil and acrylic on canvas that begin with the rendering of the structure of protein molecules and end with the artist’s more gestural brushstrokes in signature colors like his “plastic gray” and “poisonous orange.” The multivalence of the real object depicted looking abstract plus the gestural mark-making yield paintings that are not only visually engaging but intellectually stimulating as well.

Ms. Baremboym’s mysterious objects bring together disparate hard and soft materials to form objects that serve no purpose, but instead imply a certain utility, as if they were just waiting for someone to invent their function. Since she often embellishes them with pretty and delicate elements, typically pigment prints on silk gauze, it appears she wants to remind the viewer to abandon that assumption in favor of the sculpture’s value as an aesthetic object. Since they are not fully either thing, one could get lost in the tension between these two modes of interpretation for hours. What remains after one walks away is that exquisite frailty, the remnants of a soul still reaching out for tactile connection in a virtual world.

The exhibition is on view until Monday.

Last Thursday night, a storm brewed in Bridgehampton and threatened to spread east across the towns into the peaceful Village of East Hampton. This being late July, everything about the previous sentence is spurious. The weather was calm and East Hampton, peaceful? In July?

Still, there is no denying that “The Tempest,” that old play by William Shakespeare, will take over East Hampton, specifically Mulford Farm, from Wednesday to Aug. 24.

The Hamptons Independent Theater Festival, or HITFest, is keeping true to the play’s setting in an abstract sense, but taking liberties with casting. Josh Perl, the director of the play, said he had given two male roles to females and was enjoying the way that changed the emotional register and dynamic between the characters.

Corey Tazmania, no stranger to taking on male Shakespearean characters, will play Prospero as Prospera. She said last Thursday that when she studied Shakespeare at Oxford one of her first roles was Holofernes in “Love’s Labour’s Lost,” a role in which gender was the least of the challenges. The character, a pretentious scholar, imbues his Elizabethan language with Latin, with mispronunciations and other verbal miscues that define his role.

She and two fellow actors, Michelle Girolami and Matthew Haas, were taking a break from rehearsal at the Bridgehampton Community House and recharging with some marshmallow Peeps on the side stairs. They were in their third week of rehearsal.

Ms. Tazmania said that in Shakespeare each part has a different quality and the language of the character has a certain cadence and rhythm. “The choice of the language is different too, the challenge of each character is that.” She is enjoying Prospera’s great language as well as her personality.

“I think she is thoughtful, rather sentimental, and very respectful of whole forms of organizations, such as religion, family, and government.” She added that the process of forgiveness and growth she goes through and her vulnerability around the people she loves are compelling.

Mr. Haas, who plays Ferdinand, studied Shakespeare at New York University’s Tisch Center for the Arts and has had roles in “A Midsummer Night’s Dream” and “As You Like It.” He took Ms. Girolomi, who plays Miranda, by Mulford Farm for the first time that day and said he was looking forward to playing there. “Hopefully, it won’t be too loud, but we’ll make do. The horns will be our thunder.”

Rehearsals have been alternating between the community house, the music room of Pierson High School, and an outdoor space in Quogue.

Initially trained in voice as a coloratura soprano at the Wisconsin Conservatory of Music, Ms. Girolami found her way to acting and has been doing film and commercial work most recently. Her background will come in handy, as there will be some singing in the production.

She and the other actors praised Mr. Perl for “creating a space that is collaborative. He wants to hear a lot of different voices.” Ms. Tazmania agreed that he “has given the actors a lot of freedom to find our characters on our own.”

The set and costumes, under the direction of Peter-Tolin Baker, are for a story “playing vaguely in its time within an exotic foreign place, not being too literal in where it is.” The set is being built this week. It includes a curtain painted with a jungle scene inspired by Henri Rousseau and a stage as a series of stepped platforms to resemble rock formations and jetties, “or more conceptually, Prospero’s books tumbled over.”

Dress will be important in the play, but it too will have to be more suggestive than literal due to budget constraints. Some of the key questions about costume revolve around the women playing male roles. “A lot of the discussion tonight was about whether a female playing a traditional male role of nobility changes the nuance in any way.” If so, “should that be played up or down with a dress or pants?”

Mulford Farm, with its somewhat contemporaneous buildings, hints at the new world that so fascinated Elizabethans at the time. “Right across the street there is the original Gardiner tomb” with his dates of 1599 to 1663. “That time and place for Long Island and its role in the settlement of the New World has resonance to the time and place we’re setting the play in.”

Still, it’s all up to the interpretation. “We know these tales so well, it becomes about other people’s perspective and vantage points,” Ms. Tazmania observed. As someone once said to her, “it’s how you crack your own egg. It’s still an egg, but what you bring to the table is what makes it special.”

The performances will run Wednesday through Sunday at 7 p.m. The Children’s Museum of the East End will help children from its programs and from the community create the storm that opens the show. Those interested in participating are invited to come at 6 p.m. Tickets are $20 and $10 for teens and free for kids under 10. Picnickers will be welcome.

Arlene Slavin’s “Intersections” series, on view at Guild Hall through Oct. 13, consists of outdoor sculptures made up of interwoven, translucent, colored vinyl strips, and paintings whose bands of color make similar use of the grid and the diagonal. These new works, most of which were produced over the past two years, refer consciously to paintings Ms. Slavin was making during the early 1970s.

Her career has in some ways come full circle, and it is a full circle indeed, including public projects, murals, functional objects, laser-cut steel sculptures, prints, and paintings, and traveling a circuit from abstraction to various degrees of figuration before returning to the abstract works of the “Intersections” series. As varied as her output has been, the exploration of color and light has remained constant.

Ms. Slavin grew up in New York City and earned a B.F.A. from Cooper Union and an M.F.A. from Pratt Institute. After spending a year in Lisbon, where she taught art to American expatriates, she returned to the city and, in 1973, exhibited her gridded, high-color saturated stain paintings at the Fischbach Gallery.

“The early grid work, which was well received, came out of the geometry of Frank Stella and Kenneth Noland in those years, but I’ve always used thin paint and overlays and issues of transparency,” Ms. Slavin said during a recent conversation in Guild Hall’s Wasserstein Family Gallery. “That work was very engaging to me, very obsessive. The first grid was very big, and I kept making it smaller and smaller and more complex. Later in the 1970s, I saw the little triangles in the paintings as little flying things, like birds.”

While she continued to exhibit, teach, and lecture throughout that decade, a dramatic change in her work appeared in a 1979 show at the Alexander F. Milliken Gallery in SoHo. She covered the walls with a 10-by-90-foot mural depicting silhouetted cranes, pelicans, and flamingos in ravishing tropical colors.

Two years before that exhibition, Ms. Slavin was a visiting critic at the University of Pennsylvania. Once, when her train home was delayed, she bought a sketchbook and a book about birds and began drawing them while waiting in Philadelphia’s 30th Street station.

“Drawing birds was how I backed into figuration,” she said. “I started painting fish, too, because, like birds, they weren’t on the picture plane, they were weird, they had colors, and they interacted.” At first the birds were somewhat abstract, their silhouetted forms faintly echoing the rhomboids that had begun to float off her canvases of the late 1970s. By the middle of the following decade, the birds and fish were no longer silhouettes but recognizable creatures with detailed physical characteristics.

As the animal paintings developed, cows, snakes, turtles, and horses appeared and the landscape entered the mix, in some cases as a separate rectangle of trees and sky superimposed on an underwater scene. “By the late 1980s, I was thinking of simultaneous realities, above and below the water,” the artist explained. “I’ve mostly been interested in non-Western art — the flatness, color, and the sense that even when it’s realistic it’s an abstraction. The early geometric paintings had Persian names because I was looking at Persian miniatures. The way they used an array of colors across a piece of paper helped me place colors across the canvas.”

In 1981 Ms. Slavin painted several large murals, including one 115 feet long at the University of Colorado’s aquarium. After some were later painted over, she thought of folding screens as a way to get the mural off the wall and into the viewer’s space. She painted them on Japanese paper and on wood, and subsequently began to cut shapes out of the plywood.

“Seeing how the light came through the screens was the beginning of getting into public art,” she said. “As public art became a big thing I decided to move in that direction.” She created a number of public works from laser-cut steel, among them gates, fences, furniture, and freestanding sculptures, many of which featured animals and other forms in silhouette. She also made a series of carved glass-block mural windscreens for New Jersey Transit’s Hoboken Terminal Station, depicting scenes from that city’s past.

While earning many commissions in the metropolitan area and elsewhere, there came a point when she reached the final stage of no fewer than 10 competitions without being selected for any of them. “It was really demoralizing,” she said. “I realized I really love painting, which had been somewhat neglected, so I stopped doing those proposals and concentrated on paintings.”

Ms. Slavin began coming to the South Fork in the 1970s with her husband, Eric Bregman, an attorney. They built their house in Wainscott in 1989. She maintains a studio in the city, in part to keep abreast of the gallery scene, but Mr. Bregman, a former East Hampton Town attorney, practices in Water Mill. Their son, Ethan, is an electrical engineer who is currently building a racecar for the upcoming 24 Hours of Le Mans in France.

Travel abroad has been an important part of Ms. Slavin’s life. A 2001 trip to Thailand, Laos, Vietnam, and Cambodia infected her, she said, with the “must see more Asia syndrome.” A year later she traveled through northern India, where “the palette was amazing.” Other trips took her to Egypt, southern India, China, Argentina, Russia, Morocco, and, several times, to Japan. “I’ve always been influenced by Japanese screens and artwork, and since we’ve been on the East End I’ve started gardening, so going to the gardens in Japan was exciting.”

She was working on the paintings in the “Intersections” series when she began thinking about outdoor sculpture. “I wanted color and light out in the garden, and not many people were making sculpture with transparency.” Figuring out how to translate her interest in color, light, and transparency into three dimensions was a complicated process. The material she settled on was industrial vinyl. “The available palette was six colors plus clear, so the first piece, which is in my garden, is just those colors. I started thinking that I’m the color lady, so this doesn’t work for me.”

She went to Guerra Paint and Pigment in Manhattan, which specializes in pigment dispersion and binders. Through experimentation, she discovered that the paint adhered better to vinyl that had first been sanded. She then had to choose paints with a high transparency. “So then I started this production line in my studio in the city, taking the clear, sanded vinyl and rolling different pigments. I keep my paints on a wall in clear jars, so it’s like looking at a palette.”

The artist’s return in 2010 to the grid was a deliberate decision. “I thought, well, 40 years later let’s see how I use that grid. The earlier ones were more segmented. The new ones have more continuous linear crossing over and trying to be spontaneous and asymmetrical. The space is vertical, but it also looks like aerial space. The newer paintings are much looser and more transparent than the ones from the 1970s.”

A third component of “Intersections” consists of three lunettes above the entry doors of Guild Hall. Colored polymer strips are held in place between sheets of clear acrylic. As with the outdoor pieces, the movement of the sun causes changes in the lunettes throughout the day, especially when viewed from inside. At night, when the foyer is illuminated, they look from outside like stained glass.

“Doing the sculptures has been an exciting adventure,” said Ms. Slavin. “It’s all about the light and how the sun’s moving and how it changes. Color, light, and shadows are the key thing, whatever the medium.”

“Summer Job” at Harper’s

“Summer Job,” an exhibition of recent work by Enoc Perez, will open Saturday at Harper’s Books in East Hampton and remain on view through Oct. 14.

The series, which includes collages, two sculptures, and a selection of repurposed three-dimensional objects, juxtaposes products of high and low culture and forms of high and low artistic media. Using found images, Mr. Perez investigates the changing nature of representation in the age of social media.

The artist will be present to sign copies of his 2013 monographs at the opening reception on Saturday from 6 to 8 p.m.

Solo Show at Vered

Vered Gallery in East Hampton is presenting “Cosplay,” a show of new sculpture by Colin Christian, from Saturday through Sept. 8, with an opening reception Saturday from 9 to 11 p.m.

“Cosplay” is short for “costume play,” a theme reflected in Mr. Christian’s reimagining iconic characters from film, literature, pop culture, and his own imagination. The sculptures, made primarily of fiberglass and silicone, incorporate automobile trim, chrome detailing, and hat felt, among other materials.

Landscapes at Grenning

The Grenning Gallery in Sag Harbor is presenting a solo show of work by Ben Fenske through Aug. 24. A reception for the artist will be held Saturday from 6 to 8 p.m.

Mr. Fenske, who works in Sag Harbor and Florence, Italy, paints contemporary landscapes, portraits, and still lifes in the impressionist tradition, with rich color and rapid brushstrokes.

Whaling Museum Group Show

The Sag Harbor Whaling and Historical Museum will present “The Lure of the Striped Bass,” a group exhibition, from tomorrow through Aug. 26. A reception will be held tomorrow from 6 to 8 p.m.

The show, organized by Richard Doctorow and Stephen T. Lobosco, will focus on the golden age of surfcasting and its impact on the East End with hundreds of vintage and contemporary lures, carvings and gear, and historical paintings and illustrations. Paintings by Paton Miller, Nathan Slate Joseph, Anna DeMauro, Barbara Thomas, and David Pintauro will be on sale, along with carvings by Aage Bjerring.

Inspired by “Purple Haze”

“Excuse Me While I Kiss the Sky,” a group exhibition, is on view at Dodds & Eder in Sag Harbor through Aug. 18. The title is a lyric from Jimi Hendrix’s song “Purple Haze,” which is the inspiration for the show. The five artists in the exhibition record, in different ways, the influence of the sky on their work.

On view are Sydney Albertini’s lyrical abstractions with iPad Instagram images, Rachel Olmi’s sepia-toned C-prints, Dalton Portella’s oil paintings, Kate Petrone’s one-of-a-kind tintypes made with a large-format camera, and Richard Vaux’s carbon powder prints.

New in Southampton

Hagins & Mortimer Design, a new Southampton gallery, will open an exhibition of paintings by Christopher Milne and William Pagano on Saturday with a reception from 5 to 7 p.m. The show will run through Aug. 18.

Mr. Pagano’s abstract paintings are rooted in architecture and its structural components. The hard-edged, volumetric forms resemble blueprints for a pared-down visionary architecture.

The realism of Mr. Milne’s portraits is tempered by artifice. The figures have elements of hyperrealism and Pop. Through the artist’s handling of paint, they resemble mannequins with overstated features and skin like plastic, at the same time as they have distinctive expressions.

Warhol at Wolffer

Wolffer Estate Vineyard in Sagaponack is hosting a four-day exhibition of artworks by Andy Warhol tomorrow through Monday. The show has been organized by Christie’s in honor of what would have been the artist’s 86th birthday. Works on view have been sourced by the Andy Warhol Foundation for the Visual Arts and obtained from Warhol’s private holdings.

The exhibition will be open Friday and Saturday from 11 a.m. to 7 p.m., Sunday from 11 a.m. to 5 p.m., and Monday from 11 a.m. to 3 p.m. All work is available for purchase.

At the Surf Lodge

Jim Condron, who recently completed a residency at the Edward F. Albee Foundation in Montauk, is showing sculpture made at the foundation and previously created paintings through Aug. 20 at the Fireplace Project at the Surf Lodge Gallery in Montauk.

The sculptures incorporate found objects, wood, scrap metal, concrete, plaster, and animal fur. His abstract, thickly impastoed paintings often include other materials.

Photographs at Peter Marcelle

An exhibition of recent photographs by Stephen Schaub will be on view at the Peter Marcelle Project in Southampton from Saturday through Aug. 17. Mr. Schaub’s large-scale works combine photographic techniques with the presentation of work on paper.

Each piece consists of overlapping frames of images that suggest a narrative just out of the viewer’s reach. Due to the manipulation of focus and perspective, Mr. Schaub’s images, while recognizable, have a dreamlike, haunting quality.

“Raga Portraits” in Sag Harbor

A show of “The Raga Portraits,” a new series of paintings by Christopher Engel, will open today at Romany Kramoris Gallery in Sag Harbor and remain on view through Aug. 29. A reception will take place Saturday from 5 to 7 p.m.

The portraits were created while the artist was listening to ragas by Ravi Shankar and Ali Akbar Khan. The richly colored portraits are filled with a vocabulary of mysticism — numbers, words, ancient text, Kabbalistic symbols — and astronomical drawings are woven into the foreground and background.

Olivia Munroe in Amagansett

ARC Fine Art in Amagansett is presenting “Two Elements,” an exhibition of work by Olivia Munroe, today through Aug. 19. An opening reception will be held Saturday from 5 to 7 p.m.

The exhibition includes constructed collages that use layers of beeswax, cloth, string, and gold on rag. As in much of her work, Ms. Munroe uses imagery inspired by the archetypal symbols of the circle and the square. The show also features graphite drawings in which the composition has been reduced to a single black circle, and work from her “Histories” series, which is inspired by the written word.

Amagansett Artists

“Amagansett Art: Across the Years,” a group show of artists with connections to the hamlet, will open tomorrow with a reception from 5 to 7 p.m. at the Jackson Carriage House at the corner of Route 27 and Windmill Lane. The exhibition, which will run through Sept. 14, is a fund-raiser for the Amagansett Historical Association.

Anthony Bourdain, a chef and writer whose explorations of food and culture have formed the basis of several successful television series, will be at Guild Hall Sunday at 11 a.m. for a conversation with Florence Fabricant, a cookbook author and food columnist for The New York Times. A book signing will follow.

Thrust into the culinary limelight with his 2000 book “Kitchen Confidential,” Mr. Bourdain has published three novels in addition to a mini-library of food-related books. His show “No Reservations” ran for eight years on the Travel Channel and won two Emmy Awards. Tickets are $15, $13 for members.

St. Luke’s Chamber Ensemble will perform at Guild Hall at 8 p.m. on Sunday. Consisting of 22 virtuoso artists, the ensemble is dedicated to the mastery of a repertoire ranging from Baroque to contemporary and forms the artistic core of the Orchestra of St. Luke’s.

The Guild Hall program will include Verdi’s “The Four Seasons” and Bach’s “Orchestral Suite No. 2 in B minor (BWV 1067).” Prime orchestra seats are $75, $70 for members; orchestra tickets are $40 and $38, and balcony seats are $25 and $23.

On Monday evening at 8, Guild Hall will present the Doo Wop Project, which features cast members from “Jersey Boys,” “Motown,” and “Beautiful: The Carole King Musical” performing classic doo wop, pop hits, and Motown standards. Prime seats are $75 and $70, orchestra tickets are $60 and $58, and balcony tickets are $40 and $38.

The Parrish Art Museum in Water Mill will present the East Coast theatrical premiere of “Remembering the Artist: Robert De Niro Sr.” tomorrow at 6 p.m. Terrie Sultan, director of the museum, will lead a Q & A with Geeta Gandbhir, the film’s director, after the screening. Tickets are $10, free for members, children, and students.

Mr. De Niro’s work was celebrated during the 1940s and ’50s with paintings that blended abstract and expressionist styles with representational subject matter. In the late ’50s and ’60s, traditional painting fell out of fashion, and De Niro never matched his early success.

Directed by Perri Peltz and Ms. Gandbhir, the film features the artist’s son, Robert De Niro, the actor, whose reflections about his father create a portrait of a complex man. The Parrish is organizing a retrospective of De Niro’s paintings for the fall of 2015.

In its first collaboration with the Bridgehampton Chamber Music Festival, the Parrish will present a one-hour concert with Brooklyn Rider, a string quartet that combines an eclectic repertoire with a gripping performance style, Saturday at 9 p.m. The program will include the Haydn string quartet nicknamed “The Rider”; the world premiere of “Bradbury Studies” by Gabriel Kahane, based on his larger work, “Bradbury (304 Broadway)”; “Garden,” from the composer Evan Ziporyn’s larger work “Qi,” and three selections from the Brooklyn Rider Almanac.

Seating will be cabaret-style in the Lichtenstein Theater. Tickets are $35, $30 for members, and may be purchased at parrishart.org.

Bob Marley, winner of this year’s XM/Sirius Super Bowl of Comedy, will appear at Bay Street Theater Monday at 8 p.m. as part of its Comedy Club series.

Mr. Marley has a weekly radio call-in segment with several radio stations around the country, called “The World According to Bob.” He has traveled the entire late-night circuit, including “The Late Show With David Letterman,” “The Tonight Show With Jay Leno,” “Late Night With Conan O’Brien,” and “The Late Late Show With Craig Ferguson and Craig Kilborn.” He has also appeared in the films “Boondock Saints” and “All Saints Day” and on more than 100 television programs.

Tickets, available at the box office or at baystreet.org, are $69.50.

The Orchard, a Southampton estate designed by Stanford White, will be the subject of the second Samuel L. Parrish lecture, to be delivered by Gary Lawrance, an architect and co-author of “Houses of the Hamptons: 1880-1930,” next Thursday at 5 p.m. in the music room at Whitefield, 155 Hill Street.

Mr. Lawrance will discuss the evolution of the Orchard from an early Greek-revival farmhouse to the 16-acre estate built in 1895 for James L. Breese, a financier. Considered one of White’s finest summer homes, it is now the Whitefield Condominiums.

Tickets, which are $140, $125 for members of the Southampton Historical Society, must be reserved by Tuesday, through the society’s website.

The Hamptons International Film Festival will present two more films before the end of the summer, Rory Kennedy’s “The Last Days in Vietnam” and “The Overnighters” from Jesse Moss.

Ms. Kennedy, who brought the film “Ethel,” about her mother, to Guild Hall two years ago, will discuss “The Last Days” with Alec Baldwin and her subject, Stuart Herrington, after its Aug. 16 screening. The film focuses on a small group of Americans, alone in Saigon as North Vietnamese troops began to close in on the city. With evacuation delayed by Congressional gridlock and an ambassador not grasping their peril or that of their South Vietnamese allies and co-workers, they took unsanctioned action to save as many of their lives as possible.

Described as a “modern-day ‘Grapes of Wrath,’ ” Mr. Moss’s film follows migrant workers to Williston, N.D., where the hydraulic fracturing work they hoped for does not materialize except for a few, who have nowhere to stay. Jay Reinke, a Lutheran pastor, takes them in, converting his church into a dormitory. “The Overnighters” won a special jury prize at the Sundance Film Festival for intuitive filmmaking.

Both films will begin at 7:30 p.m. at Guild Hall.  Tickets are $23 and $21 for members and are available at guildhall.org or at the Guild Hall box office.