Dance Fusion at the Southampton Cultural Center will present a workshop and performance featuring dancers from the Ailey School on Saturday. Freddie Moore, the company’s rehearsal director, will lead both programs.

The workshop, which will run from 3 to 5 p.m., is open to adults and children age 9 and up. Mr. Moore and selected dancers will lead an action-packed dance experience incorporating the Horton Technique and movement from Alvin Ailey’s signature piece, “Revelations,” for which Lester Horton’s technique was the foundation.

The 6 p.m. performance will feature an all-Ailey program, performed by the dancers from the Ailey School, with excerpts from several of Ailey’s master works, including “Escapades,” “Blues Suite,” and “Revelations.”

The cost of the workshop is $35. Those under 18 can attend both the workshop and performance for $35; the fee for both for those 18 and up is $55. Tickets to the performance only are $40, $20 for students under 21.

In celebration of its 25th anniversary, Sag Harbor’s Bay Street Theater will hold “Curtain Up!” — its fifth annual Honors Benefit — on Monday from 6 to 8 p.m. at Joe’s Pub at the Public Theater in Manhattan.

Hosted by Scott Schwartz, Bay Street’s artistic director, the event will honor Ana R. Daniel, the theater’s founding chairwoman, and feature presentations and performances by some of the stars and creators of this summer’s Mainstage productions: “The Forgotten Woman,” “The Last Night of Ballyhoo,” and “My Fair Lady.”

The evening will include an hour of cocktails and hors d’oeuvres and the “Curtain Up!” presentation. Tickets range in price from $150 for bar seating to $3,000 for a V.I.P. table of six.

Bay Street has also announced the cast and creative team for “The Forgotten Woman,” the new play by Jonathan Tolins that will have its world premiere at the theater from May 21 through June 19.

Ashlie Atkinson, an award-winning veteran of stage, screen, and television, will play the role of Margaret Meier, a gifted soprano on the verge of a major operatic career. The cast will also include Darren Goldstein, Mark Junek, and Justin Park. Noah Himmelstein will direct. 

Mr. Himmelstein, Mr. Tolins, and Mr. Goldstein will be among the participants in “Curtain Up!” as will James Lecesne, author and star of “The Absolute Brightness of Leonard Pelkey,” and the actors Kelli Barrett, Amanda Nichols, Rafi Silver, and Bobby Conte Thorton.

While new technologies have had an impact on retail and advertising, Bergdorf Goodman in Manhattan remains one of the staunch supporters of creative window dressing. On Saturday at 7:30 p.m. the Montauk Library will present “Creating Fantasy: Behind the Glass at Bergdorf Goodman,” a free talk by Demetrios Argyropoulos, who has overseen the design, production, and execution of the retailer’s ever-changing windows on Fifth Avenue for 15 years.

The discussion and slide presentation will focus on some of his favorite windows and what it’s like to live “life behind the glass.” Mr. Demetrios also appears in “Scatter My Ashes at Bergdorf’s,” Matthew Miele’s 2013 documentary about the iconic emporium.

The Salon Series at the Parrish Art Museum in Water Mill will present a piano concert by Soloman Eichner, with special guest Tanya Gabrielian, also a pianist, tomorrow at 6 p.m.

Mr. Eichner is equally comfortable with solo, chamber, and concerto performances and has received prizes at competitions in Spokane, Wash., New York City, Flint, Mich., Greenville, S.C., and Washington, D.C. His keyboard repertoire includes Liszt, Chopin, Brahms, Prokofiev, and Rachmaninoff.

Tickets to the performance are $20, $10 for members and students.

Guild Hall of East Hampton is having a sale on tickets to select summer programs. A discount of $25 per ticket will be offered before Friday, May 13, on the following: “The Underpants” by Steve Martin (June 9 through 26); musicians from the New York Philharmonic (July 15 and 16); Ladysmith Black Mambazo (July 22), and Jay Pharoah (Aug. 13). Tickets may be purchased at the box office or the Guild Hall website.

For the past several decades, a movement has been taking shape under the radar of the art world and even the artists within it. That will change with the opening this weekend of the Parrish Art Museum’s “Radical Seafaring,” a pioneering exhibition and catalog produced by Andrea Grover that seeks to define “offshore art.”

Ms. Grover, whom the artists and East End community at large have come to think of as their social chairwoman for the events she organizes such as PechaKucha evenings and the Parrish Road Show, has been working on this exhibition for several years. She started in Houston and then gathered inspiration from the South Fork environment, even including a few regional artists she has met along the way.

The result is a collection of 25 artists from five countries and a snapshot of a more encyclopedic exhibition in years to come. 

“It is the exhibition I was born to curate,” she said last week, only half joking. Her father owned a marina and was a commercial fisherman for more than 50 years, and her mother was an artist. Growing up in this environment made her sensitive to the two aesthetics, she said, and receptive to them merging when she saw it happening in front of her eyes.

“I had my own motorboat at 15, before I even had a car.” She used it to traverse the water around her house in Freeport, where she grew up. She moved from Houston to Sag Harbor in 2011, when she was invited by Terrie Sultan, the Parrish’s director, to join the staff. 

Ms. Sultan knew Ms. Grover from her various projects in Houston, which grew out of the Aurora Picture Show, a nonprofit arts venture she started in her living room that “became synonymous with roaming, multidisciplinary art platforms,” as she told The Star in 2013. Diane Shamash, who was known for integrating art projects with urban waterways, came to Houston to draw residents’ attention to its bayous with a barge that was designed to travel along the waterfront while projecting film footage of landscapes. The barge and project literally ran aground on its maiden voyage, but a seed was planted.

Beginning with Bas Jan Ader, whose own conceptual project on crossing the North Atlantic also ended in failure and his assumed death, she began to take note of artists whose practices incorporated the sea. Those she found tended to fall into more traditionally defined categories of land art, conceptual art, and performance art. Yet, more and more artists and their projects revealed themselves. She kept a mental catalog until it reached, as she put it, critical mass and she knew it was time to organize an exhibition.

As the recreational use of urban waterways declined and access to them diminished, they became forgotten and in many places lawless, “a no-man’s-land, but an interesting conceptual space, fluid in every sense of the word,” she said. The exhibition’s four thematic categories include Exploration, Liberation, Field Work, and Speculation. 

Explorers, who have challenged their abilities to navigate the natural world, have included Mr. Ader and Chris Burden, who took a solo journey by kayak in Mexico in 120-degree heat. An assumption about such work is that the only remnants would be photo documentation. But such expectations of the banal are quickly pushed aside. Mr. Burden’s journal, along with a seashell and stone, are the markers here. Mr. Ader’s 1975 work is represented by a contemporaneous recording and 80-slide projection of a chorus singing a sea chantey.

Contributing to the Liberation (or the escape from the law of the land) theme is Atelier Van Lieshout, which documents the work of Women on Waves, a Dutch nonprofit that provides clinical abortions off the coast of countries that do not allow them.

Field Work celebrates those who take part in research projects and create art related to them. Steve Badgett and Chris Taylor, as part of the Center for Land Use Interpretation, built a pontoon boat to collect data in the shallows of the Great Salt Lake the way painters might create plein air canvases. A model of the boat and a documentary photograph of them in it make up their section of the show. 

The Speculation theme covers visionaries such as Buckminster Fuller, who designed offshore residential islands as a way to address the housing crisis in the 1960s. His models will be on view.

Homegrown or transplanted artists to the area in the show include Scott Bluedorn from Amagansett, Courtney Leonard, who grew up on the Shinnecock Reservation, Michael Combs, whose family’s connections to the North Fork date to the 17th century, Dennis Oppenheim, and Gordon Matta-Clark.

After a members reception on Sunday, the show will open to the public at 1 p.m. Special events include the docking of Mary Mattingly’s “WetLand,” a modified houseboat that demonstrates various sustainable living practices, at Long Wharf in Sag Harbor. It will be open on the weekends of May 14 and May 21 from 11 a.m. to 4 p.m. On May 21, an all-day series of talks and performances tied to the regional landscape, called the “Tideland Sessions,” will be presented. On June 17, there will be a reading of “Men’s Lives,” a play written by Joe Pintauro based on Peter Matthiessen’s book about the East End’s fishing community. The exhibition will remain on view through July 24.

“Sacred Threads,” an exhibition of ecclesiastical vestments and textiles from the 14th to the 18th centuries from the collection of Jill Lasersohn, will open to the public on Sunday at St. Luke’s Episcopal Church in East Hampton and remain on view through May 30. A reception benefiting a number of local charities will be held Saturday from 6 to 8 p.m.

The exhibition marks the first time works from Ms. Lasersohn’s holdings, one of the largest private collections in the country, will be on public view. It will include early Renaissance velvets and silks, rich with gold threads; a set of bishop’s gloves, and a set of gold buttons used to elect a doge in 14th-century Venice, with an accompanying image of a painting by Giovanni Bellini.

Ms. Lasersohn, who lives in East Hampton, explained that ecclesiastical garments were protected during wars, crusades, and the Reformation. The priest or minister or deacon would wear them only on important holidays. Nuns and monks repaired damaged garments. “When towns would be pillaged, these would be hidden, sometimes in the oddest places,” she said.

Clothing from the Renaissance is extremely rare. “Even the wealthiest people, like the Medicis, had only five or six gowns. Textiles were so expensive that, when you look at paintings from the period, you’ll see that sleeves are pinned or laced on. They could be removed.” A single garment might have taken six months to weave, and the dyes, which were imported, were sometimes more expensive than the articles themselves. “Renaissance bankers made their money from the dyes and the alum that would secure the dyes to the fabric.”

Ms. Lasersohn began collecting 25 years ago after her husband’s career forced them to relocate from Manhattan, where she was working for Town & Country magazine, to Silicon Valley. “My husband was born and raised on the Upper West Side, so he couldn’t wait to buy land, and he bought a lot of it. While he was at work, I had nothing to do, no neighbors, no family. I was bored to tears, and he knew when he would get home I would be pretty clingy.” 

Her husband, Jack Lasersohn, a health-care venture capitalist, asked her what her dream job would be. “I had been fascinated by textiles and fashion since the second grade, and I studied textiles in college, so I said I wanted to start a textile collection. Soon after that, he had business in France, so while he was working, I went to the flea market in Paris.”

Over the years, her sources have included dealers such as Cora Ginsburg, a foremost authority in the field; auctions, and flea markets, with an occasional find on eBay. “A collector never stops looking for the piece she doesn’t have,” she said. “I don’t collect American, because there isn’t much of it from before the 19th century. I’m fascinated with the 18th century and earlier. I like Turkish textiles, butmost of what I have is Italian, French, English, and Spanish. I’m hungry now for the 1300s, but I still love the 18th century.”

Her collection includes needlepoint, needlework, embroidery, brocades, velvets, silks, and damasks. She also has a large group of toile de Jouy and printed cottons, as well as tapestries, lace, and buttons. On her travels, “visiting museums is all I do. I’m a museum rat. I love books on textiles, and five years ago I became crazy buying art books, because I would go through them and I’d find pieces of mine in paintings.”

Because antique textiles are so fragile, museums rarely put them on public view. Most are in storage, and an appointment is necessary to see them. Similarly, Ms. Lasersohn’s collection requires handling with white gloves, storage in boxes with acid-free tissue paper, and other protective measures. “Even though, because they are going to be handled, there is going to be some wear and tear in this exhibition, I’ve been having so much fun getting to see them.”

The Internet has made collecting easier than it was 25 years ago, “but it has also increased my competition. Years ago at auctions, you’d get your paddle, everybody knew who you were, you knew the dealers, the auctioneer, and you’d raise your paddle. Now it’s not only telephone calls and pre-bidders, it’s also the computer. I’ve got somebody in Tokyo who collects Renaissance velvets bidding against me.”

The St. Luke’s exhibition came about when, several years ago, Mary Busch, who, like Ms. Lasersohn, is on the board of the East Hampton Historical Society, wanted to do a fund-raiser for the church’s outreach programs. “I mentioned my collection, thinking of a small show, but Mary had a different idea. We’ve put together a beautiful catalog, we’ve done a tristate outreach, and I’m interested in getting the fashion world involved, too.” 

Charles Keller and Glenn Purcell, fashion designers who are collectors of objects made by Dominy family craftsmen, have overseen the installation. “Everybody is volunteering their time,” Ms. Lasersohn said, “and they’re putting in a lot of hours. And it’s all for outreach. I don’t know how many communities would do this.”

There is no charge to visit the exhibition, which will be open Thursdays, Fridays, Saturdays, and on Memorial Day from 10 a.m. to 2 p.m., and Sundays from 1 to 3. However, a $20 donation will be appreciated. All donations will help fund Meals on Wheels, the Retreat, East End Hospice, Maureen’s Haven, and St. Luke’s Brown Bag Lunch and Laundry Love. Tickets for the benefit party are $150.

Private group tours with Ms. Lasersohn will be available on Wednesdays throughout May. Arrangements can be made by emailing jenniferborg@me. com.

Correction

An earlier version of this article incorrectly stated that Ms. Lasersohn had worked for Glamour magazine. She in fact worked for Town & Country.

From the original hip-hop beats aligning their movements to the movements themselves to the art on the walls in the studio where Adam and Gail Baranello train and teach, right down to some of the clothing they wear, their film projects, and live events, everything is all their own.

The Baranellos, co-founders of the A&G Dance Company, an alternative dance troupe, are performers and dance teachers who are also creators in other media, and they bring all of that to their classes and productions. They are artists-in-residence at the Hampton Ballet Theatre School in Bridgehampton.

“We create original content that we use as tools to communicate our methods and techniques,” Mr. Baranello said. “The methods and techniques are designed to encourage people to find their own authentic voice as a mover and artist and maybe even more importantly as a person.” The message: That every person has the ability to change the world in some way.

Ms. Baranello trained in ballet, jazz, tap, and other styles from the age of 3 and eventually became part of a traveling team that dominated on the East Coast competitive dance circuit. She has also acted in independent film projects and regional community theater. Mr. Baranello was an athlete first, but began pursuing the arts while in high school. They met as students in the fine arts program at Stony Brook University and now live in Hampton Bays.

The A&G Dance Company itself has its roots in a 2004 showcase they produced through the East End Arts Council. It was a year after Mr. Baranello started his own multimedia production company, AJB Productions, through which he makes his own music, clothing, art, and films. A&G Dance Company puts on two live dance shows per year, transforming the Hampton Ballet Theatre School’s studio into an edgy performance space. The next event, which includes a fashion show, is on Saturday at 7 p.m.

It all fits together. Mr. Baranello’s paintings form the backdrop to the choreography, and he has even sung some of his songs live as the company danced alongside him. Many of the T-shirts he designs reflect the imagery in his art, which is represented by the Polaris Art Gallery and has been shown at New York City’s Park Avenue Armory, Wallace Hall, and the Manhattan Vintage Show at the Metropolitan Pavilion. Mr. Baranello has produced six albums of music, many of which feature his wife’s vocals. Last year, he released the film “Dead End,” about a trio of deceased performers whose lives and relationships are seen through flashbacks. Another film, which also includes dance elements, is in the works. Ms. Baranello appears in both.

The husband-and-wife duo frequently make professional guest appearances in the shows produced by the Hampton Ballet Theatre School, including its recent production of the ballet “Coppelia.” They are tireless teachers, with town-sponsored recreational classes in Riverhead and Southampton, and school-based programs in Hampton Bays, East Quogue, the Country School in Wainscott, and the Hayground School in Bridgehampton. They teach hip-hop, contemporary, jazz, and tap at the Hampton Ballet Theatre School, and are particularly adored by kids at Project Most, the after-school program at the Springs and John M. Marshall Elementary Schools.

“Every time you perform, you kind of grow as a dancer, and then you have more to share with the students,” Ms. Baranello said, “and every time you teach, you just get inspired by the kids to push yourself more and bring more to the table.”

Sara Jo Strickland, the founder and director of the Hampton Ballet Theatre School, said the A&G Dance Company adds a lot to her studio. “Adam and Gail bring the young energy of pop culture and contemporary dance, and they’re on the pulse of what the kids are looking at and doing and learning,” Ms. Strickland said. “They’re great. They are very strong and focused.”

On a recent afternoon, outfitted in some of Mr. Baranello’s original T-shirts, the two dancers performed a hip-hop piece from their repertoire for a couple of visitors. Titled “Just Keep Going,” the lyrics go like this: “There comes a time where we get lost, torn up, beaten down, broken. What matters is that we just keep going.” Their movements are big and small, fast and tight, and convey a lot of angst. Think survival of the fittest, set to original music. It is hip-hop with more of a contemporary dance feel, rather than the street-smart style often seen on TV or in pop music videos.

The A&G brand of dance is hard to place into one overall genre because the inspiration for the choreography is drawn from a number of sources. It’s fair to say the Baranellos are like the East End’s own NappyTabs. That’s a reference to Napoleon and Tabitha Dumo, the Emmy Award-winning choreographers of “So You Think You Can Dance” fame, who also met in college, have also designed their own line of clothing, and often mix and match different styles of dance.

The Baranellos say they are doing exactly what they pictured themselves doing when they set out more than a decade ago as a fledgling dance company. 

“All the things we wanted to happen are happening,” Mr. Baranello said. “We made the choice to settle out here, create in the community in which we live, and give it something original, independent, and unique. And so far, we’ve felt there is an appreciation for it.”

After a hiatus of several months, the Southampton Arts Center will resume its exhibition program today with “East End Collected 2,” a show of the work of more than 30 area artists organized by Paton Miller. An opening reception will take place Saturday from 5 to 7 p.m.

Among the participating artists are Monica Banks, Walter Channing, Toinette Gay, Fulvio Masi, Monica Mason, Dalton Portella, and Ned Smyth. The exhibition celebrates not only the artists of the region but also the collectors who have supported them.

An artists’ talk will happen June 5 at 2 p.m. Other receptions will be held May 28 and June 11. The exhibition will close June 12.

It wasn’t just a dream. Music for Montauk is back again this year, and in the capable hands of Lilah Gosman and Milos Repicky, who rebooted the popular classical music series last year with some off-season events and a week of musical surprises in August. The future of the concerts had been uncertain after the death of the founder, Ruth Widder, in 2013.

A spring concert highlighting themes of youth, energy, and creativity will take place at the Montauk School on Saturday at 4 p.m. The program will feature Mendelssohn’s String Quartet in A minor, Op. 13, which the organizers describe as an intensely passionate, beautiful, and exciting work, noting that the piece was written by a teenage prodigy experiencing the thrill of first love. 

Two young singers from Juilliard, Rebecca Farley and Alex McKissick, will embody Mendelssohn’s themes in their interpretation of this romantic work. They will be accompanied by the violinists Annaliesa Place and Joanna Mauer, Jessica Meyer on viola, and Diego Garcia on cello.

Music for Montauk will benefit from a reception to be held at Gosman’s restaurant after the concert, from 5:30 to 7 p.m., with drinks and a buffet dinner. Tickets are $30 in advance and $40 at the door.

The summer season is shaping up as well, with a week of concerts and events in unusual and evocative places beginning on Aug. 16. More to be revealed in the near future.