"Recent studies show . . ." I won't keep you in suspense: Eggs are good for you! Cooks everywhere will wave an enthusiastic farewell to the "whites-only" omelet, another dreary food fad disappearing over the hill into the sunset of oblivion.

"Cooking without eggs isn't cooking at all," in the words of soon-to-be-85 Julia Child, and I have remained loyal to the cruelly maligned henfruit throughout my culinary career.

Eggs are one of the most delicious, cheapest, most perfect sources of protein known to man. Few foods are so versatile. Eggs are, to boot, high in omega-3, an essential element in brain development.

Yes, eggs are high in cholesterol - a word mouthed even by kindergarteners with advanced vocabularies these days - but, the fact is, the body manufactures its own supply of this necessary component in hormone and cell membrane maintenance. Trouble is, some people (alas, it's hereditary) can't sustain a proper balance in their blood cholesterol levels. But most people can!

A study conducted at Columbia University's College of Physicians and Surgeons revealed that a group of students, both male and female, who ate three or four eggs a day over a period of several weeks showed "virtually no change in their cholesterol levels."

This will not halt a continued disagreement over eggs in the diet. It's one I refuse to think about too much except for the worry about salmonella, which usually gets into eggs with cracked shells left out at room temperature too long. For this reason I pay outrageous prices for organic eggs, still one of the cheapest and best foods one can buy.

All this fretting over cholesterol has even resulted in reports by pediatricians of underweight babies and toddlers, placed on skim milk, low-fat, and eggless diets by their diet-vigilante parents.

Nearly all kids go through maddening picky-eater stages (easily cured, as most large families know, by having six children and enough food on the table for five), but the one mother's blessing that few refuse is scrambled eggs. And that's one comfort food most of us never outgrow.

Except for Chinese Thousand-Year Eggs, my taste for eggs in almost any form has continued unabated: soft-boiled, hard-boiled, deviled, fried, poached or coddled, souffles, omelettes, frittatas, piperade, quiches, and custard pies.

Sugar Takes Its Lumps

There are great egg dishes in nearly every national cuisine, although the most eccentric one I ever encountered - Denmark's cold sunny-side-up eggs with a sprinkling of sugar - did not fall into the "great" category.

Of course there are many disagreements about the role of sugar; the Chinese put sugar into every dish that tomatoes figure in, and sprinkle fresh, raw tomatoes with a lavish coating of confectioner's sugar. Sugar has had to take its lumps too; it's been blamed for every kind of evil from ugly sandbox behavior to sprees of serial murders.

Woody Allen once predicted that sugar and chocolate will be declared dietary essentials by the year 2500. With any luck at all, carob will be outlawed.

Chard Noodle Pudding

This is adapted from a sweet-savory pudding I found in "The Greens Cookbook," a vegetarian book by Deborah Madison and Edward Espe Brown. As I don't care for the sweet aspect of it, I have eliminated the raisins and sweet spices. The original recipe was for fresh spinach, but as none was available, I made this delectable main course pudding with chard leaves.

Serves eight.

1/2 cup cream cheese

1 cup of ricotta (part skim milk)

4 "large" eggs, beaten

11/4 cups whole milk

1/2 cup sauteed onions

1/4 tsp. nutmeg

1/4 tsp. cardamom

1 tsp. salt

1 bunch. fresh, young chard

2 pkgs. fresh fettuccine

Garnish: Sour cream (light or regular - or the nonfat kind if disguised with chives or fresh parsley)

Bring a large pot of water to the boil. Combine the cream cheese with the ricotta and beaten eggs, milk, onions, nutmeg, cardamom, and salt. Wash, then remove stems from the chard with heavy scissors and plunge the leaves into the boiling water for about three minutes. Remove and drain, pressing out as much moisture as possible with the back of a wooden spoon. Chop coarsely with a large knife (not the processor, as it will mince it). Stir this into the egg mixture.

Boil the fettuccine about two minutes, just slightly underdone, then combine it with the egg mixture. Preheat the oven to 350 degrees F. Butter a large baking dish (a six to eight-cup souffle, for example) and pour the mixture into it. Bake in the center of the oven until it is firm and nicely browned on top - about one hour.

Remove it from the oven and run a knife around the edges to loosen it from the baking dish. You can either unmold the pudding onto a large warm platter, or serve it from its baking dish. Serve with room-temperature sour cream.

Idiot-Proof Flat Souffle-Roulade

Regular souffles are one of the easiest dishes to make. However, for the souffle-challenged, here is one that can't fail, as it never rises very much in the first place. I first laid eyes on this mystifying masterpiece on an old Julia Child television show in the '60s.

It can be filled with anything not too heavy or wet, baked, rolled up like a jellyroll, and cut in slices for either a first course or a brunch dish. You will need a 17-by-11-inch jelly-roll pan to make the roulade.

This looks like a lot of ingredients and fussing around; however, it's really easy to make - fail-proof.

Serves four to six.

Bechamel sauce base:

1/4 lb. unsalted butter

2/3 cup unbleached flour

3 cups milk (any percent you like), heated

1/2 tsp. coarse salt

Sprinkling of cayenne

Freshly grated nutmeg (a smidgen)

Souffle mixture:

The sauce above

6 "large" room-temperature eggs, separated

Pinch of cream of tartar and one of salt

1 cup shredded Gruyere or Swiss cheese, not packed

1/2 cup soft bread crumbs

Butter

2 Tbsp. Parmesan cheese

Filling:

2 cups chopped cooked broccoli

2 cups ham, in julienne strips

Fresh parsley, chopped

1 cup of Bechamel sauce (re served from above recipe)

Melt the butter in a heavy saucepan and stir in the flour over medium-low heat. After it has cooked a few minutes, whisk in the milk and seasonings. Reserve one cup. Set aside the remainder, covered loosely with paper toweling for a lid.

Preheat the oven to 425 degrees F.

After separating the eggs, beat the yolks into the Bechamel sauce. Beat the whites with the cream of tartar and salt until they stand in soft, glossy peaks, then fold a big spoonful of them into the Bechamel sauce to lighten it. Fold the whites and sauce together lightly - it doesn't matter if there are some blotches of white - along with the Gruyere or Swiss cheese.

Saute the bread crumbs in butter until light brown, turn out onto a plate.

Souffle Mixture

Lightly grease the jelly-roll pan and line it with parchment baking paper, then lightly spread the souffle mixture evenly over the entire surface, taking care not to deflate the air cells. Bake in the center of the preheated oven for about 12 minutes, until set but not dried out.

Sprinkle the souffle with the bread crumbs, cover it with a sheet of waxed paper, and invert it onto a large cookie sheet. After five minutes, lift off the jelly-roll pan and peel off the parchment paper. If edges are dry or cracked, trim them off with a sharp knife to make rolling easier.

Warm the filling ingredients with the reserved cup of Bechamel sauce and spread this over the souffle. Beginning on the long edge, roll the souffle up, jelly-roll fashion, peeling off the waxed paper as you work, and rolling it over onto a parchment-lined baking sheet.

Sprinkle it with the Parmesan and reheat it gently in a 300-degree oven just long enough to warm it, about five minutes. You can make it ahead of time and let it rest, covered with a light kitchen cloth until serving time. You can keep it warm over a large pan of hot water on the top of the stove if the wait is not more than about 30 minutes.

A Nice Topping

Julia Child said you could refrigerate or even freeze the roulade, then reheat it in the 300-degree oven. However, I've never tried that, so you're on your own.

The souffle-roulade doesn't really have to be filled if you put some kind of flavoring into the Bechamel sauce - say chopped cooked spinach, mushrooms, cheese, or sauteed onions. Then you can simply sprinkle the roulade after it's baked with some kind of cheese and herbs and roll it up.

A cheese sauce, or one made of mushrooms and Bechamel or a light, fresh tomato sauce would make a nice topping - perhaps one of those sauces sold in the refrigerated cases with fresh pasta might work, though I've never tried any of them. I have an inherent distaste for most pre- made sauces, whether dried, bottled, or frozen, but if you've found one you like, by all means use it.

Just be sure to taste it before messing up your souffle-roulade with it.

Although the Children's Museum of the East End has yet to find a permanent home, its first exhibit will nonetheless open to the public on Oct. 26.

"Time and Place/Light and Space," billed as "a hands-on exploration of the world of the East End," will run concurrently with Guild Hall's new exhibit, "The Moran Family Legacy," which includes art works by over a dozen members of East Hampton's Moran family.

The founding members of the Children's Museum met last spring with Henry Korn, Guild Hall's president, and the group decided at that time to run a pilot program this fall. The new exhibit is the result of that agreement.

A Place To Start

The Children's Museum has been seeking a suitable space to settle down in for the better part of a year. It had hoped to take over the Cedar Street space vacated earlier this year by the East Hampton Day Care Center. But the East Hampton School District, which owns the property, decided to reclaim that land for its own use.

Last spring, Jorie Latham, a museum committee member, told The Star that "Guild Hall is a place to start," but that there was no possibility of the museum's taking up permanent residence there, as Guild Hall does not have enough space.

Lucy Kazickas, another committee member, said on Tuesday that "Time and Place/Light and Space" will fill Guild Hall's Woodhouse Gallery with seven different activities for the museum's target audience of children through 10 years old.

Victorian House

Ms. Muhlfeld Kazickas said that about half of the gallery space would be devoted to a mock-up of the interior of a Victorian house, one wall of which will feature a large reproduction of a Thomas Moran landscape painting that includes a wind mill.

Children will be able to open doors in the windmill behind which will be drawings and text explaining how a windmill works, and supplying historical information.

Also included in the exhibit are a costume area, where kids can change into turn-of-the-century garb, a "Tile Club" area, where they can design their own tiles using rubber stamps, a puppet area, a farm area, where they can "buy" fruits and vegetables, a seascape area, which will contain "discovery boxes," and a small bridge, where children can "catch" cut-outs of local fish.

"Hands-On" Experience

"What Is Your Community? What Was It Then, What Is It Now" is the name of the segment of the project that presents turn-of-the-century photographs of parts of East Hampton alongside contemporary views of the same places.

Last December, Ms. Latham told The Star that the museum would provide "hands-on" exhibits, a "soft room" with padded climbing areas for toddlers, craft and performance areas, and "sea-related" displays and demonstrations. With its inaugural project, it seems about to meet most of those goals.

The mission statement of the museum avers that "through interaction with exhibits and other visitors, each child's curiosity is expanded, self-esteem is enhanced, social skills are reinforced. A lively and engaging early museum experience for younger children promotes a lifelong love of self-directed learning and discovery in museums."

The other members of the museum committee are Beatrice Alda, Janet Jennings, Jacqui Leader, Bridget LeRoy, and Kari Lyn Sabin.

Search Continues

The committee hopes to "provide affordable activities and programs that will enable children and their parents/caregivers to interact and explore together in exhibits designed to excite, entertain, and teach."

Ms. Kazickas noted that many items in the exhibit have been donated by the community, and that much of the work on it will be done by local carpenters and artists on a volunteer basis. She said that she and her fellow committee members hope "that people get excited about the project, and help us to find a place" for the museum.

An opening reception for the exhibit will be held on Oct. 26 from 2 to 4 p.m.

Ms. Kazickas said that most of the new exhibit would remain intact after its initial run at Guild Hall ends on Jan. 11, so that it can be easily transported. Meanwhile, the search for a permanent home continues.

R. David Campbell's application to replace 680 feet of a crumbling bulkhead at his Georgica Pond residence is unfolding as relevant to the proposal to shift most regulatory powers involving the waterfront from the East Hampton Town Zoning Board of Appeals to the Trustees.

Arguing that the site, Burnt Point, which projects into the pond at the mouth of Siney's Cove, would erode unless the bulkhead were rebuilt, Mr. Campbell won Trustee approval last year to replace his bulkhead. During deliberations on Sept. 30, a majority of the Z.B.A., however, was clearly opposed to its full reconstruction. Instead, members said, Mr. Campbell should be permitted to rebuild only its northern and southern tips. If this becomes the Z.B.A.'s formal decision, as expected, Mr. Campbell would be left with permits that contradict each other.

Proponents of the proposed Trustee environmental review permit, which would give them sole authority over the waterfront everywhere but in Montauk, say it would eliminate dual review in many circumstances and the potential for such conflicting decisions as this one on Burnt Point.

They point to another instance a few years ago, when Kevin Murphy wanted to rebuild a fixed dock on Three Mile Harbor. What happened in that instance gave impetus to the Trustees' attempt to wrest authority over lands that the Trustees own on behalf of the public from the Z.B.A.

That the vagaries of the town zoning code sent Mr. Murphy on an expensive and frustrating odyssey is unfortunate but not entirely relevant. Mr. Murphy's problem stemmed from what seemed to be a glitch in the Town Code. In the case of the Campbell property, the boards had similar jurisdiction and arrived at different conclusions.

The Trustees decided a new bulkhead was better than the stone armament Mr. Campbell had at first requested; the Z.B.A., going along with a Town Planning Department recommendation, is of the opinion that erosion is not an imminent danger inside Georgica Pond and that the applicant would have the right to reapply should it become so.

The Z.B.A. has relied more and more heavily in recent years on a section of the code that withholds a natural resources permit for a shore-hardening structure unless there is rapid erosion that is "impossible" to control through lesser measures. It is a hard test to meet, and, as a result, the Z.B.A's rulings have gone both ways.

For example, Dora Barmack's proposed revetment on King's Point Road in Springs was denied by the Z.B.A. Its members agreed that her property was not immediately threatened. The Trustees, on the other hand, decided that the Barmack property had been scoured as a result of erosion-control structures to the east and that there were no properties to the west that would be damaged if her revetment went in. A subsequent court decision upheld the Z.B.A.

The hard test for bulkheads and revetments has been carried into the language of the law that would establish the Trustees as sole authority. In addition, the present Trustees have agreed to comply with the State Environmental Quality Review Act when acting as a regulatory body.

A further complication is on the horizon - a full ban on shore-hardening structures has been proposed for much of the town in the Local Waterfront Revitalization Plan. The waterfront plan has been a decade in the making, primarily under Democratic administrations. The Trustees, however, have complained that they were not always included in the discussions and, not surprisingly, have sought to reopen them.

The larger question remains, however: Which of the boards reaches conclusions more in keeping with the public's overall best interests?

The Z.B.A. watches the Town Code and listens to the town's planners carefully. The Trustees, who have relied in the past to a great extent on personal experience, say they are willing to abide by similar protocols.

Nevertheless, had the TERP law been in place, Ms. Barmack probably would have her revetment and Mr. Campbell would be able to go ahead with his new bulkhead. At least to some degree, the public ought to be guided by these cases in considering how to vote in November.

No rest for the weary, Grandma used to say. Too true. Having thoroughly wearied ourselves with the annual shaking-out and storing-away of summer clothes, an exhausting task undertaken the moment the temperature dropped and the tomatoes drooped, we now find we have nothing to wear.

It's hard to concentrate when you are walking around in wool in perspiration weather. The fall suit that looked terrific in the mirror at 8 a.m. is worse than a hair shirt by 3 in the afternoon with the thermometer edging toward 80.

Nothing for it but to pull out the cotton. Whew.

Not since the early '70s, when the last billboard on Napeague came to the end of a five-year grace period and was taken down in keeping with a forward-looking town law, have there been as many roadside signs around as there are this month. From Wainscott to Montauk they have sprouted, mainly along Route 27 but on front lawns, side streets, and back roads as well. Others are in store windows or on trees but most are planted in the ground or rising up from the beds of pickup trucks.

They are, of course, soldiers in the election campaign, and, therefore, like everything else in politics, ephemeral, which is some small comfort. But why are there so many of them this year, and why have they grown bigger than they used to be?

Brightly colored placards with party slogans or photos of beaming candidates, just like buttons, palm cards, funny hats, and other political paraphernalia, are an American tradition going back at least as far as Tippecanoe, a harmless one that, if nothing else, has spawned a thriving industry in collectibles. Put your name and face in front of the voters often enough and they'll remember it whether they want to or not, or so the theory goes.

Will they, however, go into the booth in November and pull the lever for you just because your name or grin on the highway was bigger than your opponent's? Unlike the signs, that remains to be seen.

John Pinderhughes, one of America's leading photographers, is known both for his award-winning commercial work and for his striking fine-art photographs, which hang in many museums.

Operating out of a studio in Manhattan's Flatiron District for the past 20 years, he lives on the Upper West Side with his wife, Victoria, a psychologist, and their daughters, Sienna, 13, and Ghenet, 9. The family also owns a house in Sag Harbor they visit at every opportunity.

During a recent interview, he spoke about his life and work, about the East End, where he is on the board of The Nature Conservancy, and about the racial prejudice he has encountered, and still must deal with, both at work and at play.

Trip To Africa

Born in Washington, D.C., Mr. Pinderhughes lived in Alabama before moving to New Jersey, where, as a teenager in Montclair, he was left cold by a high school photography course and aspired to be a painter and graphic artist.

An eye-opening trip to Ethiopia during the summer of 1966 changed all that, however. Stunned by the beauty of Africa and its people, he felt inspired to photograph everything in sight.

"I was 20, and had desperately wanted to visit Africa," he said. "I stumbled upon my calling quite by chance."

Found His Way

Rejecting a small camera his father had given him, he quietly appropriated a friend's, which had two lenses, and started taking pictures.

"I knew at once that I had found my tool. That was it. I never looked back."

As a marketing major at Howard University in Washington, D.C., he photographed the anti-war protests and student uprisings then in full swing.

Those years not only deepened his commitment to his art but led to collaboration on a book, "Centennial Plus One: A Photographic and Narrative Account of the Black Student Revolution; Howard University, 1964-1968."

"I grappled with technique, learning to express myself and make the statements that were important to me. You never completely master your craft, of course, but you become comfortable with your equipment."

Photography And Cooking

Mr. Pinderhughes likens photography to cooking, at which he also excels. He has published articles about food and cookbooks, among them "Family of the Spirit Cookbook: Recipes and Remembrances from African American Kitchens," and is an expert at the outdoor grill.

"Both photography and cooking require some scientific knowledge - chemistry and optics, for example - but they're things I've learned to do instinctively," he said.

"I grill year-round. I even go out there in the snow and grill. It's the same with taking pictures. I just go out and do it, because it's what I love."

A Quick Study

His first job out of college was with McGraw-Hill, where he coordinated the printing of brochures, but not until he was hired by Cowles Communications, publishers of Look, Family Circle, and Venture magazines, did he get his first taste of commercial photography.

"I was doing paste-ups and mechanicals, all done by computer now, in order to be near these big-time photographers in their labs," Mr. Pinderhughes recalled. "If they'd known I was a photographer they wouldn't have talked to me, so, as a young black kid, I let them think I was a messenger."

He was a good listener and a quick study. "They'd go into long, detailed explanations because they didn't think I was a threat, or would even understand what they were saying. It was quite humorous, and they unwittingly taught me a heck of a lot that I'd go home at night and try out on my own."

Big-Name Clients

After studying at the WNET Black Journal Film and Television Workshop, he struck out on his own, stubbornly lugging his portfolio around, taking pictures, and, at times, getting pretty hungry.

Small jobs started coming in, then big ones. For the past 25 years Mr. Pinderhughes has worked exclusively as a freelance photographer, on assignments ranging from national ads, posters, album covers, and magazine illustrations to billboards and bus-stop shelter placards.

His impressive list of clients includes Miller and Anheuser Busch beers, McDonald's, General Foods, the American Cancer Society, Bell Telephone, Equitable Life Assurance, Western Electric, Gulf Oil, RCA, Essence, and the United States Army, to name but a smattering.

"I'm a problem-solver for my clients," he said. "My job is to translate their ideas into photographs."

Two weeks ago, for example, he did a shoot for an AT&T program that provides medical scholarships to minority students. The photo featured a 9-year-old girl fighting with her older brother.

"I will so be a doctor," was the caption.

"I'm primarily a people photographer," said Mr. Pinderhughes. "I did the casting, looking for that snap and pride that says, 'I will succeed!' I interviewed about 40 kids at an agency, putting them through a little scene I devised of a pretend fight in which the little girl gets the last word."

"I submitted two girls to my client just in case one conked out - you never know - and one of them was just terrific."

Warm And Fuzzy

Last week it was off to Chicago to do an ad for American Family Insurance about fathers and babies. "It was already cast, this father with his little baby, so my job was to make it all warm and fuzzy," said the photographer.

"Another AT&T ad showing a happy college grad jumping for joy was warm and fuzzy, too. My specialty is warm and fuzzy, actually. Personally, I think of myself as warm but not fuzzy. I tend to be a little serious and overthink things at work; my kids get the crazy side of me at home."

Mr. Pinderhughes's fine-art photographs, unlike his commercial work, are black and white. Panoramic landscapes, many with water, and surreally evocative interiors, they have a serene intimacy with mood and place.

"My work is quiet and understated," he said. "I don't like to smack people between the eyes. I'm not a street photographer who puts a camera on his shoulder and rushes out to see what he can find. I immerse myself in my subject. I sit and watch and listen and speculate. I like to make people really look at my work."

A 1991 show at the Museum of Modern Art, for example, was called "Pleasures and Terrors of Domestic Comfort." "It was a series of portraits of old folks," said the artist. "I just adore their quiet dignity and the wonderful knowledge and love they emanate. They know that they know. The museum bought one for its permanent collection."

Mr. Pinderhughes also likes to photograph "little clumps of things that have been cast up on the beach and spewed about in wavelines," and "the unbelievably beautiful local landscapes."

"I'll go back and back to a certain salt marsh or stretch of beach and ocean and sit there until I hit it right. My landscapes now are all about the water."

Grew Up By The Sea

His choice of Sag Harbor for his summer home and his involvement in the Nature Conservancy both come from his love of the sea.

As a boy on his grandparents' farm on Chesapeake Bay, he learned to fish, crab, and oyster, and, as a teenager visiting a favorite aunt on Martha's Vineyard, he discovered the joys of bluefishing.

"Just being near the water blissed me out," he said. "Now I love taking my children crabbing, fishing, and clamming, and I want to make sure these joys are preserved for them and for their children."

Racial Prejudice

Has he encountered racial prejudice in the Hamptons?

"Oh yeah, are you kidding?" he asked. "But most of the bad vibes come from the summer people with a lot of money who come out here in big cars and look down on the year-round residents anyway."

"I don't think many outside people understand there's an indigenous black population that's been here a long time. I have a lot of friends in the black community where I live, and I have no problems with the local people. The shopkeepers and everyone all know me. And through the conservancy, I've made a lot of white friends."

Racial prejudice at work?

"We live in the U.S., don't we? Unfortunately, the idea of 'The Ugly American' is not without grounds. Opportunities for a black photographer are not what they would be for a white photographer."

Subtle Or Overt

"In the advertising industry people form relationships; it's an Old Boys' club. I didn't go to school with them and I don't come out to the Hamptons with them."

Sometimes, said Mr. Pinderhughes, put-downs are subtle, like the receptionist who automatically tells him the mail room is down the hall. And sometimes they're overt, as when a magazine editor dismissed him and his portfolio because the publication had just done an issue on blacks, as if he were qualified to photograph no one and nothing else.

"I've been at this a long time," he said thoughtfully. "I've been successful, but probably not as successful as I could have been. The fortunate thing, however, is that I love and respect my people. I enjoy interpreting them, and showing them in a good light. The great thing is that I've been able to do the work I love."

Among consumers of art history, there is no one more hungry than the artist, no one more able to incorporate or cannibalize it, change it and start new histories, contradict, subvert, and even destroy it.

At the same time, there is no one more reverential in its presence or more able to enrich it. This is the legacy, in all its full intellectual power, that Roy Lichtenstein has emblazoned and enlarged.

He died on Sept. 29 - too young, at 73 - in the same year, ironically, as Willem de Kooning, giants of our time at opposite ends of the art pole.

The Comic Strip Image

It was Lichtenstein who, with his 1962 introduction of Pop Art and the comic strip image in his first exhibit at the Leo Castelli Gallery, almost single-handedly eclipsed the Abstract Expressionist culture.

Like de Kooning in East Hampton, he was an East End artist, with his studio and house in Southampton. But he was a total contrast to de Kooning in his view and practice.

He was among the first of the university artists, products of the G.I. bill, which gave returning veterans of World War II a free college education. Just as the Works Progress Administration had brought artists together in the '30s and '40s to forge a new American art identity, so the G.I. bill empowered universities to produce career artists in fields formerly fueled by passion rather than professionalism, by noble failure rather than material success.

Mass-Produced Students

Previously, artists had come out of the art schools or had trained under older, established artists, as Jackson Pollock with Tom Benton. They went to the museums to encounter and study the actual object.

The '50s was the last great decade for the artist doing it first and then finding out what happened. With the '60s, all art history, particularly the ones that had just been pungently, sometimes violently, always vividly acted out in New York (and often in Springs and East Hampton), was documented in a steady stream of slides, mass-produced for all the university students in art departments all over the country.

Sitting in well-stocked libraries, like baby chicks in artificially lit incubators, art students were nourished on the latest reproductions, rather than on the real thing in museums which were generally out of their reach.

The world was ready for the reality of reproduction aesthetics. It was ready for Roy Lichtenstein.

Leo Castelli, whose gallery was the bastion of Abstract Expressionism, was able to turn in a new direction and give America what it wanted, the next new thing. Ultimately, however, after the art historian Robert Rosenblum brought the two men together, it was the charismatic pull of Lichtenstein's intellect that clinched the deal.

He was the spokesman of objects, the ordinary, the everyday, the mundane cartoon image, the narrative icon. At the same time, throughout his work, he makes reference to every phase of art history - to Monet, Picasso, German expressionists.

He calls attention to American Indian surrealism even as he underscores the direct visuality of American low populist culture - the comic strip, in all its Ben Day dots and lines, stripes, dashes and densities, unmodulated opaqueness, and flat consistency.

Roy Lichtenstein is undoubtedly one of the most original artists of our time. He resisted "museum ization," yet was comfortable within its grasp. He was the first to make art as the history of itself and to record his own role in it: the artist who himself has been created by art history.

An Original

He worked, however, at a critical distance, as in his memorable brushstroke series of 1965, a theme, more like an insignia, that reappears throughout the years.

It is his comment on Abstract Expressionism, the tradition of Van Gogh, the prejudice that if it's paint applied with a brush and brushstroke it has to be art.

Meant For Reproduction

His prints were created at the very outset for reproduction - it is and was the original purpose - and they are true to that goal in any size. They do not lose impact in the excellent "The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1993," as compared with seeing them on museum walls.

The exclusivity of museum art is exactly what this artist contradicts. The museum show, furthermore, becomes a contamination of the print, rather than the other way around.

In the '60s, as the edges between art-as-history and art-as-making began to flow into each other, it encouraged new, mass-production industrial techniques, particularly of lithography and silkscreen printing. Formerly considered "commercial art," these techniques became, in the hands of Andy Warhol and in the brilliant screenprinting-versus-handpainting dialogues of Roy Lichtenstein, the tools of fine art.

Art's Brain

Lichtenstein eliminated the line between high and low, between fine and commercial art. As Larry Rivers, his friend and neighbor in Southampton, said, he took the hand out of art and put in the brain.

The "excesses of Abstract Expressionism," as some art historians put it - its gut action, non-intellectual gusto for handwork and materials, the need to make it up as it went along, to risk and even invite failure for authenticity - became odious to the new generation of university-trained artists.

To make a name for yourself in the America of the '60s, you didn't have to be Picasso any more and you didn't have to be dead. It was the decade that saw the creation of an American market for American art and American artists, and Roy Lichtenstein was the crucial factor.

Lichtenstein is, in fact, to be understood not only as the aftermath of Abstract Expressionism, but as the beginning of a new American art history.

A summer-rental deal gone sour ended over the weekend in the arrest of an East Hampton man on a grand larceny charge. The arrest wrapped up a case that had been open since June.

According to East Hampton Town police, Andrew Barnet, 48, listed his house at 1 Albertine's Lane with brokers for summer rental, then allowed it to be rented twice over.

He kept both payments, police said, although only one lessee was able to take possession of the house, which is in the Hampton Waters neighborhood near Three Mile Harbor.

In Residence

The other, Edward Costello of Manhattan, called police on June 29. He said he had signed a contract and put down the full payment, $14,480, to rent the two-bedroom, two-bathroom house with a pool until mid-September. Mr. Costello had found the rental through Blue Bay Realty.

When Mr. Costello attempted to move in, he told police, he found the house occupied. It had been rented earlier through East Hampton Village Realty, police said, and the other tenant was in residence.

Mr. Costello attempted to pursue the matter, police said, but his efforts resulted only in a letter from an attorney telling him to stay away from the property.

Police "Stonewalled"

The incident was first classified by police as a civil matter, but after investigating and speaking with the Suffolk District Attorney's office, police pursued it as a criminal case.

Police attempted to get in touch with Mr. Barnet, but he had already left for the season - "somewhere in New Mexico," said Det. Lieut. Edward Ecker.

Detectives were "stonewalled" in trying to contact him there, said Mr. Ecker, "and we really didn't know if he was coming back or not."

Impossible To Research

Mr. Barnet did return, however, and was arrested Saturday at his house, after police were alerted he was home. He was charged with third-degree grand larceny, a felony.

Bail was set at $3,000, and Mr. Barnet was released after paying it.

Neither of the real estate firms was at fault in what occurred, according to police.

Wyman Eckhardt, a broker with Devlin-McNiff Real Estate in the village, said that when a rental property is listed with more than one real estate office, it is the owner's responsibility to let the offices know if the property has been rented.

"With rentals, there's no way for us as realtors to research these things other than to call the landlord himself and ask if it's been rented," Mr. Eckhardt said.

Say Couple Shoplifted

In other police activity, a Glen Cove couple was arrested for allegedly shoplifting at the CVS pharmacy on Pantigo Road Friday night. Patricio N.M. Hernandez, 33, and Alison L.S. Hernandez, 25, were charged with petty larceny, a misdemeanor.

According to East Hampton Village police, a store employee spotted the couple stealing.

Police said the husband took a Prymatene Mist refill valued at $14.79 and one container of Gynsana, valued at $19.99, while his wife allegedly took a $28.99 package of Nicotrol and a Lady's Speedstick deodorant valued at $1.99.

They were released later that night on $100 bail apiece and will appear in court at a later date.

An alleged paint-pellet culprit was arrested in the Village of East Hampton last week, and police said they believe there was at least one other youth involved in two paint attacks in the village last month. More arrests are expected.

Meanwhile, East Hampton Town police are looking into whether the same youths may be connected to a paint-pellet breakout in other parts of town. There was one incident in Montauk last week, reported elsewhere on this page.

James R. Byrnes, 17, of Indian Hill Road, East Hampton, was charged Sunday with two misdemeanor counts of criminal tampering. Police believe he was driving a dark-colored pickup truck seen at one of the incidents, but said they do not think he was the owner of the paint-pellet gun.

The attacks targeted Elizabeth Gerschel's Hither Lane house with orange paint on Sept. 7 and eight cars in the Huntting Lane parking lot of the Palm restaurant with pink paint on Sept. 13. There was no lasting damage.

The Byrnes youth was released on his own recognizance and given a court date.

Town police also arrested a Montauk man over the weekend for allegedly harassing his wife, despite an order of protection prohibiting him from contacting her.

Edward Koza, 80, of South Dorset Road was picked up Sunday and charged with second-degree criminal contempt after his wife, Gloria Koza, complained he had been "harassing, threatening, and intimidating" her, police said.

Mr. Koza was turned over to the Suffolk County Sheriff's Department.

Felony Assault Charge

A Selden man turned himself in to Sag Harbor Village police last Thursday on a warrant charging him with second-degree assault, a felony.

According to a police press release, on Aug. 31 Joseph K. Leo, 27, "allegedly punched a male in the face and head and then kicked the male in the head as the victim lay on the ground unconscious."

The incident occurred inside the Harbor House bar on Bridge Street, according to police, who would not provide any other details or the name of the victim this week.

Mr. Leo was arraigned in Southampton Town Justice Court and released on his own recognizance.

The Group for the South Fork has listed its fall explorations. First up is a canoe trip through Three Mile Harbor from 3:30 to 5:30 p.m. on Saturday. The Group suggests that a paddle through the salt mashes on the north end of the Harbor is a great way to celebrate National Coast Week. The trip, led by Mike Bottini, will be followed by refreshments, shellfish, and a sunset (clouds willing) at a harborside restaurant. Canoe rentals are $35. Interested paddlers are asked to call the Group at its Bridgehampton office.

The Group is also offering a walk through the walking dunes of Napeague with Betsey Perrier, landscape designer. She intends to point out the unique ecosystem that includes hollies, maples, oaks, shadbushes, grasses, sundews, cranberries, goldenrods, and asters. Walkers will begin at 1:30 p.m. on Sunday and return by 3:30 p.m.

Around The Light

Penny Lieberman will lead tours of the beaches and trails around the Montauk Lighthouse today from 1:30 to 2:45 p.m. Tomorrow, Saturday, and Sunday, she will lead two tours per day.

The morning tour begins at 11 a.m. and ends at 12:45 p.m. Tomorrow and Saturday's afternoon walks run from 1:30 to 2:45 p.m. The Saturday afternoon tour of Montauk Point's environs is scheduled from 3 to 4:15 p.m.

All of the walks start from the flagpole in front of the Lighthouse Museum. The cost is included in the museum's $3 charge, $2.75 for seniors, and $1 for kids ages 6 to 12. Children 6 and under get into the museum for free, but the walk is not recommended for them.

The East Hampton Trails Preservation Society has three walks planned for this week. On Saturday, beginning at 9 a.m., Gene Makl will lead a five-and-a-half-mile, "movable feast" hike into the Grace Estate by way of Whalebone Landing Road, Northwest Harbor, Scoy's Pond Road, and the Northwest Path, ending at the leader's house for coffee, tea, bagels, muffins, and "sprightly conversation." Hikers are asked to meet at the intersection with Scoy's Path West.

Canoe Hikers

The following day Mike Bottini will head up a group of canoers on Fresh Pond in Hither Hills beginning at 10 a.m. Canoe hikers may bring their own boats, or rent one for $30 from Mr. Bottini, who asks participants to meet at the Hither Hills overlook in Montauk just a bit east of where Old Montauk Highway splits from Montauk Highway. Boaters will need a high-clearance vehicle (not necessarily four-wheel drive) to get to the Pond.

Richard Lupoletti will lead the society's three-mile walk through the hardwood forest of Cedar Point Park on Oct. 5. The walk will lead to the view from cliffs high above Gardiner's Bay. Hikers are asked to meet at the Park Ranger's cabin near the park entrance in Northwest at 10 a.m.

On Saturday the Nature Conservancy is offering a tour of Amagansett's Atlantic Double Dunes beginning at 9 a.m. Tom Damiani, an expert birder, will lead the group, who will view migrating hawks and other birds. Due to its fragile nature, the preserve is open to guided tour only. Binoculars are suggested. Re servations are required and can be made by calling the conservancy's East Hampton office.

Guided Hikes

The Nature Conservancy and Cornell Cooperative Extension have team ed up to offer a nature weekend at the conservancy's Mashomack Preserve. The weekend, which begins Oct. 17 and runs through Sunday af ter noon, features guided nature hikes, marsh explorations, birdwatching, kayaking and home-cooked meals.

The fee is $250 per person based on double occupancy. Space is limited, and there is a registration deadline of Oct. 6. Those interested are asked to call the preserve on Shelter Island.

AMAGANSETT

Citicorp to Wilshire Funding Corp., Cranberry Hole Road, $509,000.

BRIDGEHAMPTON

Silverman to Anthony and Natalie Moody, Farm Field Lane, $400,000.

Golub to Geri Bauer, Noyac Path, $271,500.

Bauer to Edward Gordon and Three Ponds Farm Inc., Mitchell Lane, $600,000.

EAST HAMPTON

Warren to Edward and Valerie Nalbantian, Town Lane, $445,000.

Bankers Trust Co. to Francis Di Spaltro and Darren French, Route 114, $190,000.

St. Petersburg J.C. Dev. to Peter and Margaret Dictenberg, Egypt Lane, $753,000.

Giaimo to Charles and Geraldine Sanicola, Oyster Shores Road, $160,000.

MONTAUK

Republic National Bank to Louis and Rosalie Corradi, South Flagler Court, $225,000.

Brooks to Tamara Kozlakowski, South Euclid Avenue, $162,000.

Watson to Janjor Dev. Inc., Old Montauk Highway, $425,000.

Sarullo to Horacio and Lynn Mercado, Fir Lane, $150,000.

Owen to The Nature Conservancy, DeBusy Road, $157,500.

Pelegri to Janet Pitts, Duval Place, $154,000.

NORTHWEST

Billings to Manzi & Manzi Equities L.L.C., Pass Road, $247,000.

Dessy to Richard Wahmann and Martha Baas, Settlers Landing Lane, $215,000.

Bernstein to James Barron and Jane Farhi, Hedges Banks Drive, $543,000.

King to Vincent Horcasitas, Bearing East Road, $225,000.

SAG HARBOR

Alfano to Mihail and Mary Belesis, Cliff Road, $525,000.

Young to Suzan Johnson, Mere dith Avenue, $164,000.

Shepard to Lorraine Egan, Concord Street, $360,000.

Hallock to David and Jane Duran, Ridge Road, $153,000.

SAGAPONACK

Kamahda International Investment Co. to Parsonage Pond Dev. Corp. II, Parsonage Pond Road, $440,000.

Max Partners to Rainer Schoenback, Silver Lane, $1,600,000.

Konner to Clifford Foster, agricultural reserve area off Montauk Highway, $550,000.

SPRINGS

Kabonac Corp. to William and Victoria Lundin, Parsons Close, $292,500.

Halpin to Mary Kate, Tyrone Drive, $150,000.

Heiple to Rachel Kleinberg, Florence Street, $180,000.

WAINSCOTT

New Sunshine Realty to Sergio and Erika Iaccarino, East Gate Road, $265,000.

WATER MILL

Foster to Constantine Fotos, agricultural reserve area off Hayground Road, $165,000.

Wright to Marc and Carolyn Rowan, Deerfield Road, $430,000.