Ballet Hispanico, widely recognized as the nation’s leading Latino dance company, will perform “Sortijas,” or “Rings,” a newly commissioned work by Cayetano Soto, a young Spanish choreographer, at Guild Hall’s John Drew Theater Saturday at 8 p.m. Founded in 1970 by Tina Ramirez, Ballet Hispanico’s mission is to explore, preserve, and celebrate Latino cultures through dance. The company, which has a diverse repertory of more than 100 works by some of the foremost choreographers of the time, has performed for nearly three million people in 11 countries.

“Sortijas” is a duet that celebrates Latino tradition by representing the circular ties of family and friends that link communities together over generations. Prime orchestra tickets are $60, $58 for members. Orchestra and balcony seats are $20, $18 for members. Admission is free for students.

Pianofest of the Hamptons will open its 2018 season with a concert at the Southampton Cultural Center on Monday at 5:30 p.m. Directed by Paul Schenly and now in its 30th year, Pianofest offers concentrated study to a small group of pianists selected by audition who are also given opportunities to perform at venues around the South Fork. Tickets are $20 and sold only at the door; the program is free for students 18 and under.

A free concert by Antonio Lysy, a cellist, and Neal Stulberg, a pianist, will be presented at the Rogers Memorial Library in Southampton on Sunday at 3 p.m. Works by Bach, Messiaen, Debussy, Veprik, Mansurian, and Schumann are on the program.

Mr. Lysy has performed as a soloist in concert halls worldwide. He enjoys exploring the versatility of the cello, from Baroque to electric. Mr. Stulberg is not only an acclaimed pianist but also a conductor who has led many leading international orchestras. Both artists are on the faculty of the U.C.L.A. Herb Alpert School of Music.

Amanda Green’s spring “Trunk Show,” a performance by an ensemble of Broadway stars of songs cut from three of Ms. Green’s musicals, will take place June 23 at 7 p.m. at Birdland in Manhattan.

Ms. Green, who lives in the city and in Springs, is an award-winning lyricist-composer and performer, two of whose musicals, “Bring It On” and “Hands on a Hardbody,” were nominated for Tony Awards during the 2012-2013 season.        Performers will include Arlana Debose, Jenn Colella, Jay Armstrong, Janet Krupin, Kathleen Monteleone, Greg Naughton, and Ms. Green herself. Tickets are $35 for center seating or $25 for side seating, in addition to a $10 minimum for food and beverage.

The Hamptons Take 2 Documentary Film Festival is accepting submissions until July 15 for its 2014 program, which will take place from Dec. 4 through Dec. 7 at the Bay Street Theater in Sag Harbor. The entry fee is $50 for features, $40 for shorts, $15 for student films. Priority is given to filmmakers with some connection to Long Island or New York City.

More information, including submission instructions, is available at ht2ff.com.

“The Wherewithal”

Philip Schultz

W.W. Norton, $25.95

Philip Schultz’s “The Wherewithal” is an ambitious, bracing book about large-scale suffering and small-scale guilt. Set in San Francisco in 1968, at the height of the Vietnam War, the book inhabits several hells: two countries rent by war, a city bursting with the unemployed and terrorized by a serial killer, a German-occupied town in Poland whose citizens butcher their Jewish neighbors.

The narrator, Henryk Stanislaw Wyrzykowski, works as a clerk at a branch of California’s Department of Social Services, in a basement office packed with 700,640 files “recording every sort of grievance, indignity and plea for sustenance suffered in the Bay Area” between 1959 and 1968. The cases are closed and the caseworkers incompetent, or, like Henryk’s predecessor, tormented by the sheer “volume and onslaught” of misery.

As for Henryk, he is hiding from the precariousness of his present circumstances and the trauma of his past. He takes the job at the welfare office to dodge the draft and spends his days translating his mother’s diary, which records her struggle to hide seven Jews during the pogrom of 1941 in Jedwabne, Poland. Like Mr. Schultz’s narrative, the mother’s diary testifies to one person’s descent into madness and determination to find purpose in a world that every day appears “a little more off-kilter, a little less in its right mind.”

His mother’s courage shines a spotlight on Henryk’s own moral shortcomings, as Henryk contends with the ghost of Rossy, a childhood friend and the son of Holocaust survivors, whom Henryk accidentally kills in a game of William Tell. As his name (and one of the book’s many epigraphs) suggests, Henryk is a sort of Jekyll and Hyde, half-monster, half-man.

“Potentially are we all monsters?” Henryk wonders. Mr. Schultz’s answer is a resounding yes, and the acknowledgment of our collective guilt gives “The Wherewithal” its grim power.

With sinister irony, Henryk refers to himself as “snug as a bug” in his basement office, a phrase that underscores Henryk’s Kafkaesque situation and draws attention to Mr. Schultz’s poetic vocation; the phrase sounds a lot like Seamus Heaney’s description of a writer in his famous poem “Digging.” In Heaney’s poem the speaker honors his bucolic lineage while setting himself apart from it, trading in his father’s spade for a squat pen that rests between his finger and thumb, “snug as a gun.”

Yet despite being a novel-in-verse, “The Wherewithal” contains few poetic flourishes. The mostly skinny, largely free lines run ragged down the page, mimicking Henryk’s grief performance, and the fits of lyrical language (thoughts like “scattered dependents of an orphaned mind”; pleas like a “vast howling ocean wave”) often intrude on the narrative, as if to comment on the absurdity of making verse in the wake of 20th-century monstrosities.

As absurd are Henryk’s many short-lived jobs, including a stint teaching remedial speech to American veterans suffering from P.T.S.D. In a passage indicative of the book’s farcical-yet-agonized tone, Henryk interrupts a lesson on split infinitives to ask a student in a “drugged stupor” what he thinks of such grammatical rules.

“What de fuck?” says the student, rising to tower over the teacher before asking the more pressing (if predictable) question: “You ever kill a man?”

When guilt-ridden Henryk begins to sob, the student goes to comfort him. “Okay, man,” he says, “I know, we’re all just poor sick animals. . . .”

Everyone in “The Wherewithal” is, indeed, a poor sick animal. Their only purchase on redemption is got through compassion. Yet the book is as much about human compassion as it is about our incapacity to make something useful out of that compassion. Later in the narrative, asked why he has joined up with an assorted group of protesters, Henryk admits, “To prove my insanity and feel less futile.”

The one exception is, arguably, Henryk’s mother, the only character with the moral wherewithal to seek purpose in a mad, mad world, with the backbone to aid her neighbors and give witness. Toward the end of the book, Henryk comments, “Mother is perhaps the happiest person alive. She didn’t turn away, but stood there, eyes wide open, seeing everything. Her suffering was useful. . . .”

The rest of us, this relentless book suggests, are potential monsters, barely clinging to the “fragile filament of our humanity,” which is to say, dangling by a thread.

Will Schutt is the author of “Westerly,” a collection of poems published last year. He won the 2012 Yale Younger Poets Prize and lives part time in Wainscott.

Philip Schultz won a Pulitzer Prize for “Failure,” his 2008 poetry collection. He lives in East Hampton.

Facing the 20th anniversary of the launch of his first cooking show on public TV, George Hirsch, a classically trained chef with an impressive culinary background, decided to do something different. For his current 13-episode series appearing locally on WLIW and numerous outlets nationwide, he chose to highlight the food and foodies of his home, the South Fork.



If truth be told, he has always done things differently. For his first cooking series, launched in 1994, he chose as his theme outdoor grilling, a first, he said. Studying the shows airing at the time, he realized they were all studio-based. The idea occurred to him after a stint as a guest chef at Sears headquarters, where he prepared a spring luncheon with a grilling theme. As he flew back from Illinois he noticed below him on Long Island “all these blue dots on the ground” and thought, “ ‘That’s it!’ ” It was swimming pools that caused his aha moment. Americans, he reckoned, spend a lot of time in backyards. The show, on which he used an outdoor grill to make everything — from appetizers to desserts — became “Grilling With Chef George.”



“We were the single largest launch of any new show on public television,” he said recently over coffee at the 1770 House in East Hampton. “And the most beautiful part of it was that it was something everybody could relate to.”



Since it was out of the studio, locations were key. He grilled on a golf course on Lake Montauk, at Waikiki beach, and eventually produced 26 shows at Epcot with backdrops such as an ersatz Eiffel Tower setting the mood. That program lasted till 1997, after which he developed several more shows. Interesting locations were always a priority, with segments featuring Cirque de Soleil to Canyon Ranch to horseback riding in Monument Valley.



He stopped producing his series a decade ago  when the shows began to go into syndication. In 2011 a new show idea began to percolate. Why stick with just recipes, he questioned. Why not branch out to vintners and farmers? It made sense to bring it home to the South Fork, where he knew the food producers, from fishermen to chefs. Other shows were “forgetting the person behind the craft.” Anyway, he wondered, “How much can you put on a plate?” The only hesitation he had with focusing on the Hamptons was, “Would it play in Mississippi? Oregon? Boston?”



“I wanted to bring cooking shows back to their roots because they’ve gone so far afield,” he said. Their main problems are in the “sensationalizing of food” and the fact that “there’s no takeaway.” As he formulated his approach while contemplating the current spate of food shows he was aghast. “When I see shows about the world’s worst restaurants or kitchen disasters, I wonder why does it always have to be controversial? I came from a position as an educator.”



Indeed, the veteran chef, who studied at the Culinary Institute of America, later became director of the Culinary Arts Center, a school he built up to 600 students. He bemoans the attitude of students today. “When they graduate they think they’re going to get a book deal and a show. In my day you knew your craft first and foremost.” Mr. Hirsch started his career as executive chef for the chairman of Grumman Aircraft, went on to run a couple of his own restaurants UpIsland, and opened the Palace in Manhattan for Leona Helmsley, a notoriously difficult taskmaster. “I never had a problem with her. My standards were as high as hers.”



So when he teaches, it’s not about “teaching you how to make an apple-rhubarb-strawberry pie; it’s teaching you how to make a pie right.” The takeaway Mr. Hirsch hopes to give his audience is empowerment. “My tagline is, ‘If I can do it you can do it.’ ” A cookbook author and a spokesperson now for Sears Outdoor Living, he finds it helpful to break down the steps of a dish or meal. “It’s not rocket science, it’s about passion.”



For his current show he has featured Mark Smith of he Honest Man restaurant group surfcasting at the base of the Montauk Lighthouse; Scott Chaskey, poet-farmer at Quail Hill Farm in Amagansett; Art Ludlow, the cheesemonger of Mecox Bay Dairy in Bridgehampton; Theo Foscolo, who makes Miss Lady Root Beer; Roman Roth, the winemaker at Wolffer Estate and Mr. Hirsch’s “longtime friend” during grape crushing time, and Jacques Franey, owner of Domaine Franey Wines and Spirits in East Hampton, whom Mr. Hirsch calls a “wine whisperer.”



His intent is to highlight artisans over chefs, though he has featured Joseph Realmuto of Nick & Toni’s, Kevin Penner of North Fork Table & Inn, and Michael Rozzi of 1770 House. “It was important to me to get Michael’s views,” he said. “He’s third generation out here. Joe is really about how he embraces the community, and Kevin is a consummate artist.” Each also makes a point to source their ingredients locally.



“George Hirsch Lifestyle” can be seen Sundays at 2:30 p.m. on WLIW, channel 21, and will be airing on the Create channel later this summer.

 

Judith Hudson at Tripoli

“Judith Hudson: A Midsummer Night’s Dream” will open at Tripoli Gallery in Southampton tomorrow and remain on view through July 13. The exhibition consists of a series of watercolors that explore the humorous, lusty, and quixotic sides of Shakespeare’s comedy. A reception will be held on Saturday from 4 to 6 p.m.

“Shakespeare is the master of one-liners,” said Ms. Hudson, who lives in Amagansett and New York City. “The flesh and fur and dreams and antics of ‘A Midsummer Night’s Dream’ are a bottomless resource, as are the digressions.”

Ms. Hudson has exhibited widely, and her work is included in many public and private collections.

Sonnier to Speak

Artists Speak, a series of summer programs that began in 1983 at the Art Barge on Napeague, will inaugurate its 2014 season on Wednesday at 6 p.m. with a conversation between Keith Sonnier and Janet Goleas, an artist, curator, writer, and host of the series.

Mr. Sonnier, who lives in Bridgehampton and New York, helped to revolutionize sculpture in the late 1960s through experimentations with latex, satin, bamboo, video, performance, and neon. His work is represented in the collections of prestigious museums through­out the world.

Tickets are $20. More information can be found at theartbarge.com.

Tonic Artspace Pops Up

Tonic Artspace will open its summer season Saturday at the Jackson Carriage House in Amagansett with “Grand Royale,” a group exhibition of East End artists organized by Carly Haffner. The exhibition will be open to the public Saturdays and Sundays through July 12, with a reception Saturday from 6 to 9 p.m.

The work of 30 artists will be on view, including new works by Rossa Cole, Peter Dayton, Ron Focarino, Kristi Hood, Peter Ngo, Sven Hokanson, and many more.

The Jackson Carriage House is at the intersection of Main Street and Windmill Lane. The gallery will be open from 2 to 6 p.m. on weekends.

New at Eric Firestone

“#highfunctioningADD,” the first solo exhibition in the United States of work by Donald Robertson, will be on view at Eric Firestone Gallery in East Hampton from Saturday through June 30.

Mr. Robertson, who is also known at Donald Drawbertson, is a prolific creator of drawings, paintings, and photographs, which he posts, along with other images, on his Instagram site at the rate of 10 or more per day.

When not in his studio, Mr. Robertson works as head of creative development at Bobbi Brown cosmetics, the most recent stop in a long career in the fashion and beauty fields.

An opening reception will take place Saturday from 6 to 9 p.m.

Two Shows at Ashawagh

Ashawagh Hall in Springs will be the site of two exhibitions during the coming week. “Mixed Media Plus,” a group show of 11 artists, most of whom work in collage, will be on view Saturday and Sunday, with a reception Saturday from 5 to 8 p.m.

“Collision,” an exhibition of abstract paintings by David Demers and Zoe Pennebaker Breen, will be shown Wednesday and next Thursday. The artists will be on hand to discuss their works from 5 to 8 p.m. on both days, and refreshments will be served.

Meet the Artist

Lili Almog, whose exhibition “Down to Earth” is currently on view at Vered Gallery in East Hampton, will be at the gallery Saturday from 4 to 7 p.m. to talk about her new series, which features landscapes utilizing satellite imagery and embellished by her own drawings. A 25-minute film about the artist will be screened every hour, starting at 3 p.m.

The exhibition will run through June 30.

McNeill Opens New Space

The McNeill Art Group will open a summer exhibition space at 40 Hill Street in Southampton Saturday with “Stained with Sweet,” a group show that will remain on view through July 13.

The show will include paintings by Perry Burns, neon sculpture and photographs by Tapp Francke, paintings, concrete sculpture, and design by Jeff Muhs, and texturized colored salt paintings by Bettina Werner.

An opening reception will be held Saturday from 5 to 8 p.m.

New at Old Whalers

“Under the Influence,” an exhibition organized by Peter Marcelle, will open at the Sag Harbor Whaling and Historical Museum tomorrow and remain on view through July 8. The exhibition explores the relationships between nine contemporary artists and the artists who have inspired them.

The pairs of artists are as follows: Terry Elkins-Andrew Wyeth, Eric Ernst-William Baziotes, Cornelia Foss-Larry Rivers, Steve Miller-Andy Warhol, Michelle Murphy-Jamie Wyeth, Dan Rizzie-Donald Sultan, Stephen Schaub-Alfred Stieglitz, Mike Viera-Eric Fischl, and Gavin Zeigler-William Scharf.

An opening reception will take place tomorrow from 6 to 8 p.m.

Inspired by Nature

The Nature Conservancy is presenting “Nature Inspires,” a group show organized by Silas Marder, on view Mondays through Fridays from 10 a.m. to 5 p.m. through July 2 at the Center for Conservation, 142 Route 114 in East Hampton.

The show features works by local landscape artists including Bobbie Braun, Jim Gingerich, Terry Elkins, Catherine Krusos, and members of the Wednesday Group, an association of plein air painters.

The island-wide work of the conservancy will receive 30 percent of the proceeds from the sale of the paintings.

Garden Party in Sag

Dodds & Eder Home in Sag Harbor will host a garden party with music and refreshments on Saturday from 5 to 8 p.m. The occasion is the exhibition of 10 sculptures by seven artists in the gallery’s outdoor sculpture garden.

The sculptors, Bill Barrett, Michael Chiarello, John Cino, Gregory de la Haba, David Elze, Dennis Leri, and Paul Pavia have mastered their artistry in aluminum, marble, and steel.

The exhibition will be on view through October.

Cornelia Foss in New York

Recent work by Cornelia Foss will be shown at Gerald Peters Gallery in New York City today through July 18. Organized by Peter Marcelle, the exhibition will include new landscapes, seascapes, and garden scenes.

Ms. Foss, who lives in Bridgehampton, is a painterly realist. Her work is in the collections of the Museum of Modern Art, the Brooklyn Museum, and the National Portrait Gallery in Washington, D.C., as well as many public and private collections.

An opening reception will take place today from 6 to 8 p.m.

Susan Vecsey’s Paintings

Susan Vecsey, who lives in New York and East Hampton, has work on view at Berry Campbell Gallery in Chelsea through July 3. Ms. Vecsey’s oil-stained paintings, which make reference to shapes in the landscape, are said to evoke emotion through color and composition.

A visiting artist at the American Academy in Rome in 2012, Ms. Vecsey’s work is held in many collections, including that of Guild Hall.

Open Studios at Watermill

The Watermill Center visiting artists studios of Mohammed Kazem and Maya Chami will be open Saturday from 1 to 4 p.m. Mr. Kazem, who was born in Dubai, creates conceptual explorations of the environment through works on paper, video, photography, and installation. Born in Beirut, Ms. Chami, a practitioner of graphic design and digital arts, will present three audiovisual works.

A reception will coincide with the presentations, and a tour of the center will take place at 2 p.m. Free reservations may be made at watermillcenter.org.

New in Water Mill

Gallery 125, an exhibition space in Bellport that represents painters living and working in Suffolk County, will open an East End venue on Saturday in the Water Mill space previously occupied by Hampton Hang.

The show, which will include work by Rex Ashlock, Arthur Pinajian, and Russell Christoffersen, will remain on view through July 13. An opening reception will take place Saturday from 5 to 7 p.m.

There is a lot of white space in the work of both Matt Kenny and Adam Marnie, on view at Halsey Mckay gallery in East Hampton. Sometimes it seems the art is an extension of the wall, a way of lying on top of it while gathering its support. In the case of Mr. Marnie, it is the wall, playing with our notions of positive and negative space.

Neither show consists of a lot of work. Upstairs, Mr. Marnie’s four-piece installation was the artist’s reaction to that specific space. The loft in the gallery is small and uneven, with a peculiar eagle’s-nest outpost to look over the downstairs gallery.

Mr. Marnie took the relationships between the walls into account in a show he titled “Recursions.” If we take his title as a mash-up of recurrence and version, we arrive at some idea of what he is getting at.

This installation uses two mediums the artist has employed in other ways. There is the inkjet print and the drywall used as support. Rather than prints of flowers or trompe l’oeil photographs of exposed building supports, here he takes a minimalist approach, but a striking one.

The minimalist paean comes from the monochromatic palette with a reflective, almost metallic, mechanically made sheen. It is also derived from the pseudo-mathematical relationship between the individual parts, alluding to the golden ratio, which ends up subverted. The artist derives his own pattern, going from a single cutout of the first drywall panel to two, then three, and finally six. The pattern’s imperfections echo the oddball shape of the space.

With four different pieces in the installation, each with a different title and its own price, the assemblage touches on post-modern irony as well, setting up the necessary condition that this piece is based on a specific place and time and then effectively saying, forget it, you can buy it separately anyway.

The surface on these pieces is fascinating. Uninitiated viewers might see a flat canvas at first, but it is obvious, closer to the works, that the white space, not pristine, is the gallery wall. They might assume then that the actual architecture of the piece is some kind of framing device, but it is also clear from the cuts that rather than being built up out of nothing, the way a wooden frame might be assembled from parts, these were intact pieces of something else that were carved up just for this purpose.

The precisely incised but sometimes roughly executed cuts, along with the red color, hint at violence, and the less than pristine surface, with smeary fingerprints and mars and scars from the manufacturing process, tarnishes what would have normally been a Minimalist’s clean edges and gleam. These are far more complicated works than they appear.

It might be said that Mr. Kenny’s show in the main gallery is somewhat opposite. His images have more complexity on a superficial level, but it becomes clear that they are also variations on certain themes. Even without the simplicity of Mr. Marnie’s work upstairs, it would soon be obvious that another serialist is on display here.

Mr. Kenny plays with iconic sites and objects such as Google Earth images of McCarran Pool, turning the watery imagery on its side to form new shapes and architectural forms. It’s imperfect and idiosyncratic, with no hinted-at or subverted rationality alluded to. He literally turns it on its head.

His triptych of the 9/11 memorial is more subdued, but manipulates the aerial imagery of the reflecting pool in a way that calls memory into question: how the mind plays on past events or objects to warp them and create new meaning. The same can be said of the act of memorializing and how the memory of those lost may also be altered or co-opted over time by those who may gain from that alteration.

There is also an engaging series of enamel paintings on aluminum, apparently employing a visual pun of a large and powerful staff crushing and then pulverizing two carved blocks of stone. One is inscribed “hours, minutes, seconds.” The other is inscribed “conditioned reflex.” The surface is often slick and shiny, in grays with black and white; the brush sometimes used in a more painterly way to suggest the hand of the artist in the otherwise comic-book illustrative style.

The most striking works come from an unlikely source: black plastic garbage bags. This seemingly low material is inked and run through an etching press. The colors of the printed forms against a smoothly sanded white-painted panel are happily insouciant, balancing off each other the way a third or fourth-generation abstract artist might deconstruct a New York School painting. Yet it is neither analytical nor pedantic, it is surprising, fresh, and free, as if the panel represents the part of the sky where children’s helium balloons, one minute precious, the next a restless renegade, leave their imprint when they go to die.

The shows are on view through Monday.

Artists on Inspiration

    “Unmasking the Muse: Inspiration in the Arts,” a panel discussion with Laurie Anderson, Andrea Cote, and Maria Maciak moderated by Marion Wolberg Weiss, will take place Saturday at 5:30 p.m. at the Pollock-Krasner House in Springs.

    Ms. Anderson, who has a house in Springs, is an internationally renowned experimental performance artist, composer, and musician whose work has extended the boundaries of performance for four decades.

    Much of Ms. Cote’s multimedia work uses her own body as subject, object, and medium, but she has also produced temporary public art projects and site-specific installations on the East End, in New York City, and around the country. She lives in Flanders.

    Ms. Maciak, who is the media director at the Ross School in East Hampton, has worked as a producer, director, camera operator, and film and video editor. At Ross, she organized the Ross Human Rights Film Festival in collaboration with Human Rights Watch.

    The program will begin with a wine and cheese reception, followed at 6 by the panel discussion. Admission is $5, free for members, and reservations are not required.

Fireplace Project at Surf Lodge

    “EXSanguiNatio_n,” an exhibition of work by Michael Bevilacqua, will open tomorrow at the Fireplace Project at the Surf Lodge in Montauk and remain on view through July 13. An opening reception will take place Saturday from 6 to 8 p.m.

    Mr. Bevilacqua’s work has long been informed by pop culture and, especially, music. “EXSanguiNatio_n means bleeding to death,” he has written. “I have been working with spray paint for the last several years to bring the medium beyond the idea of graffiti. Works come together in a collision between Mark Rothko and Lana Del Rey.”

    His work is in the collections of the Dallas Museum of Art, the Whitney Museum of American Art, the Louisiana Museum of Modern Art in Denmark, and the San Francisco Museum of Art, among others. He lives in New York City.

New at Birnam Wood

    “Elements,” an exhibition of new work by David Datuna, opens today at Birnam Wood Gallery in East Hampton and will run through July 1. The show consists of portraits of famous figures, among them Abraham Lincoln, Marilyn Monroe, John F. Kennedy, Princess Diana, and Michael Jackson.

    Each portrait incorporates a varying matrix of small dots, digitally printed, that coalesce into a recognizable image. An undulating screen of eyeglass lenses of different prescriptions is mounted over each image, forming a complex “lens” that both reveals and distorts the figures.

    Born in the former Soviet Republic of Georgia, Mr. Datuna lives and works in New York City. He has exhibited widely in this country and abroad. His installation “Viewpoint of Billions” was shown at the National Portrait Gallery in Washington, D.C., in February.

Sayre Barn Reopens

    On the occasion of the reopening of the Sayre Barn, the Southampton Historical Museum will present an exhibition of highly detailed oversized photographs, taken by Ulf Skogsbergh, of the deconstruction of the 1825 building. An opening reception for both the barn and the show will be held on Saturday from 4 to 6 p.m.

    For Mr. Skogsbergh, a photographer who lives in Southampton, the dismantling of the barn provided an opportunity to examine and document the building techniques and design imperatives of an earlier age.

    The exhibition will include photographs of single objects — among them a saw, a plow, a shingle, and a horseshoe — in dramatic isolation on a white background. Other images focus on the sculptural beauty of the building’s skeleton.

    The exhibition will be installed in the barn, which was renovated by Strada Baxter Design/Build. Admission to the reception is free; light refreshments will be served.

Three Amigos From Sagg

    “The Three Amigos of Sagaponack,” an exhibition of work by Hans Van de Bovenkamp, Nathan Slate Joseph, and Ed Haugevik, is on view at the Monika Olko Gallery in Sag Harbor through July 2.

    Mr. Van de Bovenkamp is known for monumental sculptures but also creates smaller pieces and drawings. Mr. Joseph will exhibit textured, weathered pieces that blur the boundaries between painting and sculpture. Mr. Haugevik’s minimalist steel sculptures have been commissioned for sites throughout the country, including the Hayground School in Bridgehampton.

    A reception will take place on June 21 from 5 to 8 p.m.

Abstraction at Ashawagh

    Ashawagh Hall in Springs will host “Mostly Abstract II,” a group exhibition, on Saturday and Sunday. Painting, sculpture, drawings, and photography by 11 artists who approach abstraction in a variety of styles, will be on view.

    An opening reception with wine and hors d’oeuvres will be held Saturday from 5 to 8 p.m.

John Little Society

    A correction to last week’s Art Scene: Donations to the John Little Society should be made payable to the Town of East Hampton, with “Duck Creek Art Exhibition” specified on the face of the check, and mailed to Jess Frost, 366 Three Mile Harbor Road, East Hampton 11937.

Benefit for Wildlife

    Artists for Elephants and Rhinos, a benefit for the International Anti-Poaching Foundation, will be held on Saturday from 5 to 8 p.m. at the Dora Frost Studio, 15 Windmill Lane in Southampton.

    Artwork by Lucy Cookson, Dinah Maxwell Smith, Sander Whitlan, Judith Whitlan, Alice Ryan, Allan Ryan, Kimberly Goff, Ronny Cohen, John Rist, Trevor Boteler, Blair Seagram, and Ms. Frost will be on view.

    The foundation, which is registered in Houston and headquartered in Zimbabwe, trains rangers across southern Africa, where they provide the first and last line of defense against the illegal trafficking of wildlife. Fifty percent of all art sales will go to the foundation.