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  • One of the second wave of 20th-century artists who found their way to the South Fork and used the landscape as a chief source of inspiration, Jane Freilicher died on Dec. 9 at home in New York City of complications of pneumonia. She was 90.

  • Outside of some art-world friends who lived on the East End, Ray Johnson had a tenuous association here until his ultimate performance in Sag Harbor became the stuff of local and international legend and inextricably bound him to the area. Earnest young artists have made pilgrimages here to retrace his steps and delve for meaning in his use of the numeral 13 and its factors in his age, choice of date, and room number at Baron’s Cove Inn.

  • It is the time of year when galleries often scale their offerings down, not to include less, but to show more, albeit smaller, works at friendlier price points for gift giving. As much as the art world plays by different rules, size does matter, at least when determining value.

  • “The 50 Year Argument” by Martin Scorsese and David Tedeschi, screened at the Hamptons Take 2 Documentary Film Festival, offers proof not just of the vitality of the documentary medium, but of the growing importance of the festival itself.

  • Although we may have become more jaded and immune to Robert Gober’s jarring dislocations of familiar objects and experiences, there is still something visceral and uncanny in the bringing together of many of them in one confined space.

    For the past few weeks, the Museum of Modern Art has had such an installation on its second floor. “The Heart Is Not a Metaphor” is an exhibition that not only takes over unusual spaces in the building but also disrupts them in service to the art.

  • Museum acquisition shows have an air of bridal and baby showers about them. A rather large group of gifts is assembled in one or several rooms while guests get to gawk at them and comment on their appropriateness or shortcomings. It’s rather fun.

  • If the list of artists at East Hampton’s Drawing Room gallery seems like the usual mishmash of gallery standbys, think again. While many of the artists are familiar to the space, the always-brilliant installation skills of the gallery directors, Emily Goldstein and Victoria Munroe, make the artwork sing in ways that are surprising and delightful.

  • Stephan Keszler, who has had a presence here with galleries in several locations, is featured in a documentary on the anonymous street artist and provocateur who calls himself Banksy.
  • In “Loop Holes,” Louise Eastman’s homespun weavings and cast bricks look perfectly at home in the barn that houses the Silas Marder Gallery exhibition space in Bridgehampton. Yet they would look equally at home in some of the South Fork’s remaining untouched classic midcentury ranches, complete with linoleum floors and Formica countertops.

  • If you’ve ever wondered who sits in the big bay window on the second floor of The Star’s office building, that would be me. It is a great perch to witness the life of the village throughout the seasons. Up in the treetops there are leaves budding, blooming, changing, and falling, sparrows peeping in, and the occasional cardinal.

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