We had an absolutely lovely Saturday.

The Dan Flavin Art Institute is an unassuming converted church off of Main Street in Bridgehampton, which has the distinction of being the only Flavin artwork installed by Flavin himself. He chose the space, which is owned by Dia, renovated it and sited the work; the result is a pretty extraordinary study in colour and its properties.

Kirstin Kapustik, the Public Program Manager, was waiting for us at The Watermill Center, Robert Wilson’s “laboratory for performance”. She gave us a great tour of the grounds and building (including his apartment, library and archive), all designed down to the smallest detail by Wilson himself.

The acclaimed theatre director has been collecting art and artifacts most of his life, ranging from Indonesian stone totems to Mapplethorpe photographs. What is remarkable about the space is both the juxtaposition of objects and the lack of preciousness about them. Wilson has a particular interest in chairs and has prototypes designed by the likes of Donald Judd, Gerrit Rietveld and Shiro Kuramata—all of which are used, rather than just for show. It was a treat to see.

We ended the day at the Parrish Museum’s new building, designed by Herzog and de Meuron. It’s the simplest of conceits: two slipped sheds next to each other, with the intersection forming the spine of the museum. The materials make the space: corrugated steel, cast concrete, stained black wood with deep grooves. The materials, and the Long Island light that inspired the artists in the first place.