If you look up Sammy’s Beach on the Internet, you are given maps, a lot of real estate listings, and a few photographs of a bay beach, typically with a lot of tire ruts. On Instagram it’s different, more arty shots of wind blown waves on a rocky shore, abstract amalgamations of jingle shells and seaweed, dramatic sunsets, and the like.

    These are useful ways into Connie Fox’s series of paintings inspired by the beach up in the far northern reaches of Springs that leads to the cut of Three Mile Harbor into Gardiner’s Bay.

     If you think the tabs on pop top cans are mundane subject matter,  Alice Hope will likely change your mind with a show at  the Ricco Maresca Gallery in Chelsea. There, viewers will find a range of tab-inspired artworks that either incorporate the small metal pieces of  flotsam, elevate the form to sizable hanging sculpture, or come up with other interpretations wholly unique to the artist.

     At an opening on April 3, Ms. Hope, who received her M.F.A. from Yale University, decorated the attendees with tabs on necklaces and temporary tab tattoos.

     The Spring Fling at the Parrish Art Museum may have been causing delays on the highway in front of its Water Mill headquarters, but over in East Hampton several gallery exhibitions opening on Saturday night, kept many residents close to home.

Ille Arts had an engaging show of word paintings by Matt Vega in Amagansett. They featured poetry, with both legible and more freeform text. It was presented in stark black-and-white and more vibrant color combinations. Mr. Vega studied painting at Boston College and has an M.F.A. in photography from the Yale University School of Art.

     Hopes and excitement ran even higher this year for the Guild Hall members show, an annual event that brings the South Fork artistic community together for one of the largest exhibitions in the region and the only non-juried show. More than 470 artists submitted work to be placed on the walls of Guild Hall’s three main galleries with the hope of being recognized by Robert Storr, a former curator at the Museum of Modern Art and the dean of the Yale School of Art.

     Mr. Storr selected William S.