Gil Gutierrez, a guitar virtuoso on tour from San Miguel de Allende, Mexico, will perform a program of jazz, Latin, and cinema music on Saturday at 7:30 p.m. at the East Hampton Presbyterian Church. The concert, part of the Art of Song series, is presented in collaboration with OLA, the Organizacion Latino-Americana.

Mr. Gutierrez’s music draws from opera, jazz, cante flamenco, Cuban, and Mexican styles. He has scored several films, including “Lost and Found in Mexico,” for which he also performed the soundtrack, and has played at the Kennedy Center and as guest soloist with the Baltimore, Minnesota, and Seattle symphonies.

He will be accompanied by Bob Stern on violin and Peter Martin Weiss on bass. Tickets are $20.

The Watermill Center will present works in progress by four recently arrived resident artists on Saturday from 2 to 4 p.m. as part of its ongoing “In Process” series. A tour of the building and grounds will take place Saturday from 1 to 2 and Wednesday from 2 to 4.

While at the center, the Chilean artists Sebastian Escalona and Josefina Dagorret will continue the development of “Extinct Rite,” a research project that combines different languages of artistic expressions involving the landscape of the body, the site-specific, and memory.

Stacey Goodman, an American artist, is working on his ongoing multidisciplinary work “Dreams, Light, and Liberation,” the intention of which is to examine how we perceive marginalized people and spaces.

Aneta Panek, who is based in Berlin, will stage “Alchemy of Punk,” an opera that brings together the greatest voices of classical opera, punk, and industrial rock in a multimedia spectacle.

The tour and programs are free, but reservations are required.

Marissa Mulder, a cabaret singer from New York City, will showcase the music of the singer-songwriter Tom Waits on Saturday at 7 p.m. at the Southampton Cultural Center’s Levitas Center for the Arts.

In “Tom . . . in His Words,” Ms. Mulder will explore some of Waits’s best-known songs, including “Downtown Train” and “Ol’ 55,” as well as lesser-known works such as “Broken Bicycles” and “Alice.” A 2011 Rock and Roll Hall of Fame inductee, Mr. Waits blends jazz, blues, and even vaudeville into his compositions. 

Tickets are $35, $45 for ringside tables.

A comedian popular in the 1970s — maybe George Carlin or David Brenner — once asked why people say that they found something in “the last place I’d look for it.” The punch line was, “Well, of course it was the last place. Once you find it, why would you keep looking for it?”

The discovery in Sag Harbor of “Crowning of Mercy,” an 1869 Hubbard Latham Fordham allegorical painting, has the kind of back story that prompts one to think of such punch lines.

Active at times in New York City, New Haven, Conn., and Springfield, Mass., the self-taught artist is best known on the South Fork for the time he spent here as a portraitist and keeper of the Cedar Island Lighthouse from 1849 to 1853 and from 1862 to 1869. He was born in Sag Harbor in 1794 and died there in 1872.

Jean Held, a Sag Harbor Historical Society trustee, recently explained that in the mid-2000s, Pamela Lawson, who was a trustee at that time, was researching Fordham paintings and their current locations for the society. “I used to be in the library researching nature studies,” Ms. Held recalled. “She was in the library looking at art.”

In 2005, Ms. Held found an article in The Sag Harbor Express from July 1869 that described a Fordham painting that had not been accounted for since then. According to the article, “Mr. Hubbard L. Fordham has just finished another picture representing the ‘Crowning of Mercy,’ which is a handsomely executed piece, and shows a fine specimen of workmanship.” She gave the article to Ms. Lawson, who added the painting to her list with a note that its location was unknown.

By this point, the Sag Harbor Historical Society had moved into the Annie Cooper Boyd house on Main Street, a house left to the society by Nancy Boyd Willey, Boyd’s daughter, who died in 1998. Although the society was using the house as its headquarters, efforts to restore the attic did not take place until 2010, some five years after Ms. Held first saw the article describing the painting.

“I was in the attic cleaning out a filthy closet,” she said. Next to an old air conditioner, she noticed a canvas. Not only was it dirty, she said it looked like “something you would find in a 10-cent store, which is a horrible thing to say about this painting.” She put it aside.

Some time later, she went upstairs and reconsidered. “I was trying to figure out if it was really a significant painting.” It was signed and it had a date, which corresponded with the date in the article. Yet, Fordham did not usually sign his paintings. “I thought someone else, maybe Annie Cooper Boyd, might have done it. . . . It was a sloppy signature, crude, it made me suspicious.”

By then, Ms. Lawson was in a nursing home and Geoffrey Fleming, another expert, had moved away from Bridgehampton. Ms. Held finally reached out to Richard Barons, the recently retired director of the East Hampton Historical Society, and he helped confirm the painting’s authenticity in February. According to Ms. Held, he called it a “splendid example of high Victorian idealization,” which, given modern taste, could be taken as similar to Ms. Held’s initial assessment. 

She sent a photo of the painting with Mr. Barons’s notes to the Century Arts Foundation, and by April she had a grant for its restoration, now being handled by Larry Castagna, an East Hampton conservator.

In the interim, Ms. Held also found a familiar-looking photograph in the house. It was a picture of Emily Fairchild Fordham Keese. On a hunch, she compared the image to the painting and concluded that she was likely the model for the painting. Keese was the mother of Boyd’s best friend, Virginia Keese, known as Pussy. 

In a rather colorful history compiled by a volunteer researcher for the society, Keese and Boyd became rivals for the affection of their Presbyterian minister, a Reverend Kamp. Kamp chose Keese, but committed suicide before they were married. She never married and became the John Jermain librarian.

Keese and Boyd remained friends and Ms. Willey was good friends with Keese’s niece Emily. It is not a stretch to see how some of the Keese family’s possessions may have turned up in the Boyd household. “We have scrapbooks from the Keese family,” Ms. Held said. “It makes sense that we ended up with the painting and a photo of the model.” She added that Fordham painted Boyd’s father.

Although known mostly for his portraits here, there are 12 narrative paintings on the list compiled by Ms. Lawson. The subjects include “The Finding of Moses,” “The Triumph of Virtue,” “Descent From the Cross,” and “Two Escaping Slaves Pursued by Bloodhounds.” Except for the “Crowning of Mercy,” all of their locations are unknown.

“For all of the time Pam Lawson was doing research to find these paintings, this one was upstairs,” Ms. Held said. “We just needed to find it.”

The next installment of the off-season series of concerts at the Southampton Arts Center promises to be one of its most musically adventurous. On Saturday at 7 p.m., the jazz and salsa that have characterized the series will blend with hip-hop and more when Baba Israel, an artist, producer, and educator, will lead a group comprising Ada Rovatti on saxophone, Bill O’Connell on piano, Santi Debriano on bass, and Claes Brondal on drums. 

Mr. Israel grew up in New York City, his parents core members of the Living Theatre, the experimental theater company founded by the Abstract Expressionist painter Julian Beck and Judith Malina. That influence and his own early performances at another Lower East Side institution, the Nuyorican Poets Cafe, are evident in his spoken-word, socially conscious, and experimental recordings. 

“We struggle with life, with love, with bills, with politicians with eyes that pre-judge,” he raps on “Freedom Music,” a 2013 collaboration with Irfan Rainy. “We struggle with faith, we struggle with money that comes too late, we struggle with hate, we struggle with fate, we struggle to wait, we struggle like all of our ancestors.” 

“I definitely grew up on hip-hop,” Mr. Israel said last week from Europe, where he gave a series of performances. He cited among his influences pioneering artists of the genre including Run-D.M.C., Kurtis Blow, Big Daddy Kane, MC Lyte, and Gang Starr, “and I also got excited by West Coast, more underground stuff.” 

“My father was a jazz musician,” he added. “He was very connected in the jazz community, so he took me to see a lot of jazz. I would say those are my two biggest influences.” 

As an educator and consultant, he works with organizations including Urban Word, the Brooklyn Academy of Music, and the University of Wisconsin-Madison. He has also worked as a cultural ambassador with the United States State Department, through which he has presented workshops and performances across Southeast Asia, the South Pacific, and in Gambia and Turkey.

Mr. Brondal, who organizes the series as well as the Thursday evening Jazz Jam sessions at Bay Burger in Sag Harbor, said that a goal of the series is to present and showcase the diverse world of music under the jazz umbrella. “The roots of rhythm and history of the Americas is the unique melting pot of world cultures and societies,” he wrote in an email last week. “We want people to experience some of the best music gumbos and genres rooted in this country. The subcontext is that all humans are interconnected and we live on this planet as one — ultimately sharing one big, fat world culture.”

“Considering the rich history of the Bronx and Manhattan,” Mr. Brondal, who is from Denmark, wrote, “jazz/salsa/hip-hop is the obvious, but not famous, musical family. So much we can do within the spirit and traditions of these styles!”

Tickets for Hip Hop Meets Salsa and Jazz with Baba Israel and Friends, Saturday at 7 p.m. at the Southampton Arts Center, are $15, $5 for students and children. The venue will open at 6:30 for refreshments compliments of Union Cantina and Wolffer Estate Vineyard.

In Ben Woolf’s play “Angry Young Man,” which will have its American premiere Wednesday at Guild Hall, four actors, two women and two men, play the same character, Youssef, often within the same scene. Those four actors also take turns playing the other 11 characters, who range from an elderly woman with an Irish brogue to a towering thug named Bruno to a young refugee named Gjerg.

First produced at the Edinburgh Fringe Festival in 2005 and winner of numerous awards at the 2013 Adelaide Festival in Australia, “Angry Young Man” is the story of Youssef, an Egyptian surgeon who arrives in London at the play’s beginning seeking a new life. 

The mistakes and mishaps that befall an emigrant from the Middle East to the West, including running afoul of white nationalists, being ripped off by a taxi driver, and being abducted and beaten by xenophobes, are an implicit comment on the obstacles faced by refugees. But Youssef’s plight is played not so much for sympathy as for laughs. Laced with physical comedy, the style of the play dates to “The Goon Show,” which ran on British radio from 1951 to 1960.

“ ‘The Goon Show’ led to ‘Beyond the Fringe,’ which in turn became ‘Monty Python,’ ” said Stephen Hamilton, the director of the production. “All were extended sketch comedies. What you see may be true and it may not be true. It may be stylized or it may be straight up. The play is a combination of that English ancestry, a bit of the Marx Brothers’ ‘Duck Soup,’ and a little bit of the Three Stooges.”

“The characters speak the stage directions. But in this case it’s four different actors as the same character telling the story. So all of a sudden we’re in a meta situation. Of course, the challenge there, because it is a very fast-moving narrative, is that the audience might ask, ‘Am I still listening to Youssef or am I listening to a different character?’ ”

To help the audience realize when an actor changes into a different character without any verbal cues, the director decided to use costume elements. Patrick wears a certain hat, for example; Gjerg wears a specific outfit.

Mr. Hamilton was given the play by Frances Hill, the founding artistic director of Urban Stages in Manhattan, which has collaborated with Guild Hall and the producer Ellen Myers on the production. “Frances was here last year to see ‘The Night Alive,’ a play I directed at Guild Hall. She had read and loved ‘Angry Young Man’ and asked me if I wanted to direct it,” he said.

The thought of directing such an unusual and complicated play was daunting. “I had never directed anything like it before, and I found the prospect of approaching the piece terrifying. As I went to bed, I told my wife I wasn’t going to do it.

I woke up the next day and said, ‘It’s still terrifying, but I’ve got to do this.’ ”

He remained frightened for the first three days in rehearsal until the company made it clear they and their director were going to figure it out together. He realized early on, he said, that the actors — Christopher Daftsios, Rami Margron, Max Samuels, and Nazli Sarpkaya — had to “own” the play themselves.

“They really threw themselves into it. When I was casting, I was especially interested in comedy skills — physical comedy, improv, things like that.” He was delighted to learn from her résumé that Ms. Margron had trained in buffoonery in Paris. “From the beginning, I realized I was in a room with some really talented, really committed artists. The challenge was to go into rehearsal and lift the play up off the page. It was a really wonderful experience.”

A producer, actor, director, and teacher, Mr. Hamilton currently serves as director of the Southampton Theatre Conference, a graduate program at Stony Brook Southampton. He co-founded Sag Harbor’s Bay Street Theater in 1991 and oversaw more than 50 productions during his 17 years there. He has directed seven plays at Guild Hall since 2006.

Mr. Woolf is an award-winning British writer and director who has worked for companies including the National Theatre, Donmar Warehouse, Bush Theatre, Theatre Royal Bath, and Dreamworks. He was associate director of “Ivanov” with Kenneth Branagh and Tom Hiddleston.

“Angry Young Men” will run Wednesdays through Sundays at 8 p.m. through June 18. Tickets are $35, $15 for students.

Coming upon the brightly painted boat hull mounted on a tiny island at the Storm King Art Center, the uninitiated might quickly identify the comic-book style of Roy Lichtenstein, but its otherwise mysterious presence prompts more questions than it answers.

The boat, the subject of a new exhibition and film, has been in residence at the New Windsor, N.Y., sculpture park since 2003. It looks like a creative folly, but the hull, decorated with the artist’s jaunty mermaid (nicknamed Dorothy, presumably for his second wife, Dorothy Lichtenstein), is not only sound, but was technically advanced for its time, and built with the intention of winning the 1995 America’s Cup.

It was one of the last major commissions for Lichtenstein, whose flat, bold paintings became some of Pop Art’s best-known works from the 1960s onward. He died in 1997.

“Young America: Roy Lichtenstein and the America’s Cup,” which opens on Friday, May 26, at the Middlebury College Museum of Art in Vermont, will trace the history of the boat from idea to retirement. Its opening is timed to the beginning of this year’s America’s Cup races in Bermuda.

“Reflections on a Mermaid,” a film by Ted Bogosian that dovetailed with the organization of the exhibition, is about the commissioning of the hull painting, the 1995 sailing competition, and what has happened since. It will be completed this summer and shown in the fall at Guild Hall, where some scenes were filmed during the museum’s 2015 Lichtenstein exhibition, “Between Sea and Sky.” There are also plans to show the film on PBS later this year. It includes footage of the boat and its crew Mr. Bogosian shot while directing “War in the Wind,” a PBS documentary on the 1995 Citizen Cup races, which were qualifying races for the America’s Cup.

Two years after he won the silver medal in sailing at the 1992 Barcelona Olympics, Kevin Mahaney approached his fellow Mainer and mariner John Marshall, who had been prominent in America’s Cup racing since 1974 and was head of design for the boat Dennis Conner used to win the cup back from Australia in 1987. Mr. Mahaney wanted to put together a dream team of sailors and build a boat to match.

They formed PACT 95, a nonprofit syndicate, to raise money by allocating shares in the ownership of the boat. Mr. Marshall was president and Mr. Mahaney skipper. A 1984 graduate of Middlebury College, where he studied art, Mr. Mahaney wanted a hull design that wasn’t only technically advanced, but educational as well. 

In a scene from the film, recently screened at the New York Yacht Club in Manhattan, Mr. Marshall described the discussions that led to the artwork’s commission. “I was visiting a serious art collector talking about what would make the boat really special. He said, ‘It’s really simple. You have to have a great artist do it.’ I said, ‘I don’t know any great artists and why would anyone be interested in doing a sailboat?’ He said, ‘Well, Roy Lichtenstein might.’ ”

Mr. Marshall call­ed Lichtenstein “un­believ­ably modest. He said, ‘Well, I don’t know whether I’ll have a good idea, and if you don’t like what I’m doing, of course you don’t have to do it.’ ” He not only came up with the scheme for the boat hull, but did a series of drawings inspired by the project and designed a spinnaker.

The artist used a one-to-nine scale model to execute his design, which he sketched on the model with a projection of a transparency, and used tape to make his densely outlined drawing. A team of students from the Rhode Island School of Design painted the actual 77-foot, one-ton boat, which the syndicate dubbed Young America.

Although Lichtenstein had been living part time and sometimes full time at a house and studio in Southampton since the 1960s, Rob McKeever, his former assistant, said after the screening that the hull design was executed in his New York City studio.

The PACT 95 team and Young America had the best record in the qualifying races, but lost in the final to Mr. Conner’s team. Mr. Conner made the unusual move of enlisting Young America as the boat he would race against New Zealand, abandoning his own boat, Stars and Stripes, and requiring his team to acquaint themselves with a new one with very little lead time.

Despite expectations that it was destined for greatness, Young America was ill-fated. It was damaged twice, including by a freak tornado and water spout in San Diego that blew the boat off its cradle before it was christened — the only vessel in the boatyard damaged by the storm. Mr. Conner also lost the America’s Cup to New Zealand while racing in it.

The boat would still be seaworthy if its keel were reattached, but J. Carter Brown, who was a former director of the National Gallery of Art in Washington, D.C., a longtime Storm King board member, and a sailor, had other plans. Before he died in 2002, he arranged for the donation of the hull to Storm King. Earlier this spring, the boat was detached from its mount in New York and loaded onto a trailer and taken up to Vermont, where it will be installed through August.

Mr. Mahaney, who endowed the arts center at Middlebury and organized the exhibition, said at the screening that he hoped to have the hull installed briefly at the Whitney Museum of American Art, which is near his New York City residence. He would like to see it on the museum’s outdoor sculpture patio, with the prow jutting over the High Line. He said the Whitney will also screen Mr. Bogosian’s film once it is completed.  Middlebury College created a setting quite similar to Storm King’s for the installation of the hull. It sits in a small man-made pond dug specifically for the show. Inside, a collection of preparatory drawings and designs for the hull and the spinnaker, on loan from the Osaka Maritime Museum in Japan, will be on display. Missing from the show will be the boat’s spinnaker itself, which was not race-worthy and was raised only once for a trial run before it disappeared. Mr. Mahaney said he hopes the exhibition will spark “an international treasure hunt” for the spinnaker.

Given the unusual nature of the commission, Mr. Mahaney did express surprise that more people did not know about it. Lichtenstein “was doing his nude series at the time, and it all came together over a two-to-four-month period. It kind of got lost.” While he was securing the works in Japan for the Middlebury show, he came across a vellum sketch that Lichtenstein had kept for his own collection and said he was thrilled that it had meant enough to the artist that he had preserved it as a keepsake.

It also demonstrated that very little had changed from his original concept to the image now on the boat. Mr. Mahaney said he was impressed by the artist’s “understanding of going from two dimensions to three dimensions and how the boat would move” through the water. “His fundamental understanding of movement and color and light is just genius.” 

The Salon Series at the Parrish Art Museum in Water Mill will conclude its current season tomorrow at 6 p.m. with a concert by the pianist Nicholas King, who has performed in concert halls throughout the United States, Canada, Ireland, Spain, Hungary, Austria, France, and Poland.

The program will include Mozart’s Sonata No. 14 in C minor, K. 457; the four-movement “Suite Bergamasque” by Debussy; Piano Pieces Op. 76 by Brahms, and two works by the Russian composer Scriabin: Preludes Opus 11 and Etude Opus 8, No. 12. Tickets are $20, $10 for members.

Strictly Watercolors

“Water+Color+Works,” an exhibition of work by nine South Fork artists who share a fondness for the watercolor medium, will be on view at Ashawagh Hall in Springs tomorrow through Sunday. A reception will be held on Saturday from 5 to 8 p.m.

While most of the artists have cited nature as an inspiration, their paintings range from pure abstraction to more recognizable imagery, but in all cases color and shape take precedence over strict realism.

The participating artists are Kirsten Benfield, Johanna Caleca, Barbara DiLorenzo, Lesley Obrock, Kate Rabinowitz, Janet Rojas, Gerry Sacks, Jerry Schwabe, and Carol Craig Sigler. The gallery will be open Friday from 4 to 7 p.m., Saturday from 10 a.m. to 8 p.m., and Sunday from 11 to 4.

New at Ille Arts

Ille Arts in Amagansett is presenting “Out of the Box,” a two-person exhibition of work by Deborah Buck and John Monti, from today through June 20. A reception will take place on May 27 from 5 to 8 p.m.

Ms. Buck, who lives in Sagaponack and New York City, will show 25 paintings from the past year. She has begun to combine Japanese Sumi ink with her layered compositions of acrylic, pastel, chalk, and glitter.

Mr. Monti will exhibit five sculptures from his “Flower Series,” which can be seen, in his words, “as fetishes born of nature and finish. These sculptures represent dense amalgams of vegetation. Twisting vines and floral forms of invention are cast in resin and coated with a high-gloss finish.”

Group Show at RJD

“No Boundaries,” a group exhibition at RJD Gallery in Bridgehampton, will open on Saturday with a reception from 6 to 8 p.m. and remain on view through June 20.

Among the participating artists are Rich Garland, who creates dramatically lit images of vast, derelict industrial spaces; Jesse Lane, whose intense figures emerge from darkness into light, and Pamela Wilson, whose isolated characters seem enmeshed in mysterious narratives.

The show will also include work by Jack Gerber, Jules Arthur, Yana Movchan, Armando Valero, and Gabriel Moreno.

Two Realists at Grenning

Paintings by two classically trained realists, Carl Bretzke and John Morfis, are on view through June 4 at the Grenning Gallery in Sag Harbor. Despite a large portfolio of landscapes and cityscapes, Mr. Bretske develops his work in the studio as well as outdoors. His nighttime landscapes, usually unpeopled, have a lonely, melancholy quality that recalls the work of Edward Hopper.

Much of Mr. Morfis’s work focuses with trompe l’oeil accuracy on single objects, among them fishing lures, tools, horseshoes, a gardening trowel, and oarlocks. His subjects reflect his growing up in a family of talented Long Island tradespeople.

The Hampton Theatre Company in Quogue will present “Alarms and Excursions,” Michael Frayn’s 1998 comedy, in a three-week run beginning next Thursday evening at 7.

The play actually consists of eight comic sketches that are linked by the mayhem and embarrassment caused by various forms of technology. In the opening sketch, for example, a dinner party is wrecked by faulty smoke alarms, buzzing timers, and a corkscrew so complex that it sends its user to the hospital. Answering machines, burglar alarms, and airline safety announcements are also skewered for laughs.

The production stars Andrew Botsford, Rosemary Cline, George A. Loizides, and Jane Lowe. Diane Marbury directs. Performances will take place Thursdays and Fridays at 7 p.m., Saturdays, May 27 and June 10, at 8 p.m., and Sundays at 2:30. Tickets are $30 for adults, $25 for senior citizens (except Saturday evenings), $15 for those under 35, and $10 for students. An HTC benefit performance will happen on June 3 at 6:30 p.m.