'One World to Another'

Roseline Koener Art Gallery, 88 Main Street, Westhampton Beach, (631) 288-1017. Through Aug. 12.

The one world in question is actually two -- Europe and Africa -- united under the banner of art. The French sculptor Jephan de Villiers and the Belgian painter Daniel Fauville met the Senegalese sculptor Serigne Mbaye Camara at a biennial exhibition in Dakar, and the three artists found that in spite of their diverse backgrounds, they had much in common. All three use their work to investigate memory, especially the area where the personal and the more broadly cultural intersect.

Mr. de Villiers's boxes are part fetish, part reliquary. They hark back to places he has been (including eastern Long Island, where some of the elements were collected), and at the same time point the way to another destination. In ''Sur les Traces de Lispera I,'' the tail of a horseshoe crab takes on iconic status when combined with plant material and mud and laid on a cushion of newsprint inscribed with cryptic markings. When he adds little faces to seed pods and other organic objects, Mr. de Villiers pushes the symbolism toward cuteness, but when he avoids that device his intimate assemblages have a curious poetry.

Mr. Camara also makes fetishistic collections of found materials, but in his case they are freestanding or hanging sculptures. His signature motif is a small block of wood with two holes drilled through it, which serves as a simplified human head and gives strong personality to his works. Sections of steel reinforcing bar become the limbs of figures, and pieces of wood and other found objects are strung together to suggest ritual or religious significance.

Mr. Fauville's paintings are pictographs of houses, often no more than outlines, floating in space or set in schematic landscapes. They are meant to evoke a general nostalgia for remembered places, but too often their poster-like quality robs them of subjectivity. Mr. Fauville also makes sculpture, and his small cast-iron towers, with their rusted surfaces and memorial overtones, are far more evocative.

Photography Exhibition

Avram Gallery, Southampton College, 239 Montauk Highway, Southampton, (631) 287-8234. Through July 28.

Robert Moore, one of the workshop's co-directors, uses digital collage techniques to create hybrid prints in which various elements are seamlessly unified. In ''Suffolk County Fair,'' for example, details of flashing lights and dynamic shapes are combined in an image that, while static, communicates the excitement of a carnival ride. Velvety black-and-white Iris prints by the other co-director, Christa Bowden, are also built from separate pieces, in this case scanned directly from female bodies. The woman in ''Embryonic'' is curled into a fetal position and compressed against the picture plane; she clutches a pair of root vegetables as if they were weapons that will help her break out of her confinement.

Julie A. McConnell's digital cibachrome prints show objects made of plant fibers, backlighted and mirror-printed to create head-like shapes. They also resemble insects, as in ''Crown Prints,'' with its spidery connotations, and ''Skullduggery,'' which resembles a beetle as much as a skull. Cheryl Machat Dorskind applies subtle color to black-and-white prints to amplify the romantic feeling of mist-shrouded coastal landscapes. In ''Muse,'' the sense of space is almost completely dissolved by the humid atmosphere.

Deborah Klesenski takes a more objective approach, using a traditional view camera to study the world around her. ''Ann in the Dairy Barn,'' her portrait of an alert corgi returning the camera's inquisitive look, is enlivened by the many details that are usually ignored in passing.

Corey George, also a keen observer, examines the environmental impact of development. In two selections from his ''Billboard'' series, shots from inside a moving car frame double-edged messages, apparently added digitally, that question the concept of progress.

Sculpture Exhibition

John T. Mather Memorial Hospital, 75 North Country Road, Port Jefferson, (631) 476-2723. Through Aug. 31.

Several of the 34 artists featured in this year's exhibition have created responses to the World Trade Center attacks. As the traditional memorial vehicle, sculpture is appropriate for such expressions, but most of the pieces are not up to the task. Two exceptions are Dwight Trujillo's ''N.T. 10:29 a.m.,'' a small, understated assemblage that uses angular shards of scrap metal to symbolize the collapse of the north tower, and ''South Tower,'' J. Alan Ornstein's fragmentary metal grid, also abstract and symbolic. By placing the structure against the trunk of one of the beautiful beech trees that grace the hospital's front lawn -- an ascending, positive form contrasting with the sculpture's negative image of destruction -- Mr. Ornstein enhances its emotional impact.

Humor makes a welcome appearance in Mark Kuhn's ''Lip Magic,'' a pair of towers that have nothing to do with desolation. Taking a stylized mouth shape as his basic motif, the artist piles them on one another like rubbery rings bouncing in harmony and prompting viewers to grin back at them. Wisely resisting any impulse to paint them lipstick red, Mr. Kuhn has made them silver so they catch and reflect the sunshine in the courtyard.

Bennett Sykes Blackburn's amusing ''Tourist Trap,'' last seen in Greenport's ''Footfalls'' outdoor exhibition, is on the lawn, where its satiric comment on the lure of a fishing village is less effective than it was on the Greenport waterfront.

Photos: ''Lip Magic'' by Mark Kuhn.; ''Crown Prints'' by Julie A. McConnell.; ''Sur les Traces de Lispera I'' by Jephan de Villiers.