This weekend marks the close of “Festival 25: Catch Us While You Can,” a celebration of artists and musicians who have lived on Vashon for 25 years or longer. For the past month, the show has filled Open Space for Arts & Community with visual art by more than 70 artists and music by almost as many players.

If you haven’t yet caught “Catch Us,” you should. In some ways, it’s a trip back in time to the 1960s and 1970s, when an influx of young artists and music makers changed the cultural landscape of the island. These people, many of whom are represented in the show, built the island’s reputation as a haven for artists. But perhaps most importantly, they stayed here. This 13-mile-long rock was enough for them; they filled it with art and music, and they continue to do so to this day.

The community on view at Open Space in “Festival 25” has been extraordinarily productive and embracing of each other. Remember, these are people who, together, opened galleries, formed co-ops, held meetings, taught classes and made an arts fortress out of Vashon Allied Arts, now called Vashon Center for the Arts. This year, many of the artists in the show again banded together to re-brand and expand their longtime art studio tour group into an organization called VIVA, standing for Vashon Island Visual Artists. Their music and art still frequently grace the walls and stage of Vashon Center for the Arts, too. Don’t expect them to slow down or shut up any time soon.

The exhibit at Open Space is simple in its construct — each artist displays an older work along with a current one. Photos of the artists, along with their bios, adorn the walls or pedestals where each of their works are exhibited. The stories in the bios are fascinating — not the proud but padded stories of young strivers, but the must-be-abbreviated (because each one, really, could be a book) summations of lives that have been fully and complexly lived.

It’s also fascinating to see how many of the artists in the show have transitioned over the years, moving from one medium to the next, while others have stayed firmly within one discipline. And in a trick of magic made possible by this presentation, the artists’ younger and older selves can suddenly be seen side by side, erasing time.

At first glance, Brian Fisher’s two artworks seem to have been made by different artists, but look closer: His fascination with color and the human form show in both an older watercolor and a new monotype.

Carol Schwennesen’s luminous self-portrait, painted in bold strokes as a young woman, hangs beside her large, new oil painting — an abstract field of yellow, white and other threads of color, pulsing and crackling like the sun.

Ilse Reimnitz shows two works that celebrate nature, but her older, traditional watercolor of boats on a beach hangs beneath a vibrant monotype of geese migrating across an abstracted, striped sky.

Sharon Munger’s work has moved in the other direction: An abstract watercolor hangs beside a new black and white etched depiction, completely recognizable, of Shinglemill Creek.

Christine Beck’s porcelain pieces, both painted a luscious seafoam green but created decades apart, tell the story, perhaps, of her delight in returning to art after taking time off to support her family as a private investigator.

The festival’s attention-getting name, coined by Beck, who is the show’s curator, is purposefully a bit morbid, I expect. Most of the artists in the exhibit are no longer young, and some have experienced health problems in recent years. One wall in the exhibit is devoted to listing the names (in Kaj Wyn Berry’s beautiful calligraphy) of giants of the Vashon arts and music scene who are already gone: Art Hansen, Michael Spakowsky, Marshall Sohl, Rochelle Munger, DeWayne Hoyt, Joe Petta, Jack Tabor, Phyllis Hubbard, Barbara Kirschner, Laura Davidheiser, and sadly, too many others to name here.

The exhibit is also a stark reminder of the way that Vashon has changed in recent years. Those dirt-cheap cabins on 2.5 acres of land, where young artists with big dreams but modest cash once moved to make art, haven’t appeared in our real-estate listings for years. In 25 years, will there be another show like this one?

But for now, we should all celebrate both what we had and what we still have. It’s something worth dancing about, and luckily there will be plenty of chances for that, too, this weekend. The show’s final two days will showcase almost a dozen longtime island musical acts.

Starting at 5 p.m. on Saturday, there will be classic rock from The Spotlights, high energy bluegrass from High and Lonesome, the mystic reggae rock of Subconscious Population and the danceable sounds of Sinner & the Saints. The acoustic stage will boast Bob Kueker, Mary Litchfield Tuel and Chuck Roehm.

On Sunday, starting at 3 p.m., the main stage will feature Mike Shapiro, Catbird, Riverbend and Loose Change. The acoustic stage will welcome Some Hat, John Browne and Loren Sinner with Bob Goering.

Like the visual artists in the show, these musicians are accomplished, and unstoppable. They have never ceased strumming, never quit singing, never stopped tooting their horns, because the community they helped build truly welcomed all their joyful noise.

All the art will be on view from 10 a.m. to 4 p.m. Friday, Saturday and Sunday, Sept 28, 29 and 30, at Open Space. On Saturday and Sunday, visitors can also buy food and drink at the event.

You’ll know you are in the right place when you see Kaj Berry’s giant calligraphy on silk hanging above the gallery entrance. It says, in part, “Whatever you can do — or dream — begin it” — a perfect summation of what the artists of “Catch Us While You Can” have created on Vashon.

For a complete listing of times for musical acts on Saturday, visit openspacevashon.com/event/festival-25.