Dot, who has grown tired of standing still in the early morning sunlight, leaves the park mollified after George promises to take her to the Follies.

In his studio, George works on his painting obsessively while Dot prepares for their date and fantasizes about being a Follies girl ("Color and Light").

As Jules and Yvonne mock the unconventional nature of George's art, they discuss an initiative to have his work included in the next group show, which they both protest.

As the day goes on, George quietly sketches denizens of the park ("The Day Off"): The two Celestes try to attract the attention of a pair of Soldiers, fighting over which will get the more handsome of the two; the Nurse hides from the Old Lady and attempts to attract Franz's attention; Franz and his wife Frieda argue with Louise and each other; a pair of wealthy American tourists pass by, hating everything about Paris but the pastries, and plan to return home with a baker in tow; Jules returns to further lecture George on his shortcomings as an artist, receiving in response an invitation to see his new painting; the Boatman reappears to rebuke artists' condescending attitude.

He misses Dot and laments that his art has alienated him from those important to him, but resigns himself to the likelihood that creative fulfillment may always take precedence for him over personal happiness ("Finishing the Hat").

Meanwhile, Jules is puzzled by George's new technique and concerned that his obsession with his work is alienating him from his fellow artists and collectors alike.

Dot reveals the real reason for her visit: Despite the obvious fact that George fathered her unborn child, she and Louis are getting married and leaving for America.

They argue bitterly about their failed relationship, and Dot concludes sadly that while George may be capable of self-fulfillment, she is not, and they must part ("We Do Not Belong Together").

George refuses to acknowledge her as his child, and says that Louis will be able to care for her in a way that he cannot before offering a feeble apology as Dot sadly departs.

When he arrives to take her home, she tells him about her mother, attempting to pass on a message about the legacy we leave behind ("Children and Art").

Weeks later, Marie has died and George has been invited by the French government to do a presentation of the Chromolume on the island the painting depicts.

Feeling adrift and unsure, George reads from a book he inherited from his grandmother—the same one Dot used to learn to read—and ponders the similarities between himself and his great-grandfather ("Lesson #8").

After the failure and scathing critical reception of Merrily We Roll Along in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre.

[5][6] The show opened Off-Broadway at Playwrights Horizons, starring Mandy Patinkin and Bernadette Peters, in July 1983 and ran for 25 performances.

In his New York Times review of Sunday in the Park with George Frank Rich wrote, "What Mr. Lapine, his designers and the special-effects wizard Bran Ferren have arranged is simply gorgeous.

"[11] It was the first Broadway show to utilize projection mapping (onto the spherical surface topping the Chromolume #7 sculpture), and high powered lasers that broke the 4th wall, traveling throughout the audience.

The New York Times theatre critic Frank Rich wrote: "I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work.

Although it was considered a brilliant artistic achievement for Sondheim and nominated for ten Tony Awards, the show won only two, both for design.

In his acceptance speech Herman noted that the "simple, hummable tune" was still alive on Broadway, a remark some perceived as criticism of Sondheim's pointillistic score.

On May 15, 1994, the original cast of Sunday in the Park with George returned to Broadway for a tenth anniversary concert, which was also a benefit for "Friends in Deed".

The only members of the original cast who weren’t in attendance were Robert Westenberg, Cris Groenendaal and Brent Spiner, who were filled in for by Howard McGillin, Jeff Keller and Bruce Adler, respectively.

The first London production opened at the Royal National Theatre on March 15, 1990, and ran for 117 performances, with Philip Quast as George and Maria Friedman as Dot.

The cast included Michael Cumpsty (Jules/Bob), Jessica Molaskey (Yvonne/Naomi), Ed Dixon (Mr./Charles Redmond), Mary Beth Peil (Old Lady/Blair), Alexander Gemignani (Boatman/Dennis), and David Turner (Franz/Lee Randolph).

Ben Brantley wrote in The New York Times, "The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives....a familiar show shimmers with a new humanity and clarity that make theatergoers see it with virgin eyes.

[24] In addition to Gyllenhaal and Ashford, it featured Brooks Ashmanskas (Mr./Charles), Phillip Boykin (Boatman/Lee), Claybourne Elder (Soldier/Alex), Liz McCartney (Mrs./Harriet), Ruthie Ann Miles (Frieda/Betty), David Turner (Franz/Dennis), Jordan Gelber (Louis/Billy), Erin Davie (Yvonne/Naomi), Penny Fuller (Old Lady/Blair), and Robert Sean Leonard (Jules/Bob).

[26] The production was scheduled to transfer to the West End at the Savoy Theatre in 2021, after a delay caused by the COVID-19 pandemic, also starring Gyllenhaal and Ashford and directed by Lapine.

[30] The Ravinia Festival in Highland Park, Illinois, presented a semi-staged production for three shows from September 3 to 4, 2004, with Michael Cerveris in the title roles, Audra McDonald as Dot/Marie, and Patti LuPone as Yvonne/Blair Daniels.

[32] The team responsible for the London revival mounted a production in April 2009 at Seattle's 5th Avenue Theatre, featuring Hugh Panaro as the title roles, Billie Wildrick as Dot/Marie, Patti Cohenour as Yvonne/Naomi, Anne Allgood as Harriet/Nurse/Mrs, and Allen Fitzpatrick as Jules/Bob.

[33] From April 15 through 25, 2013, the musical was performed in the English language at the Théâtre du Châtelet in Paris, directed by Lee Blakeley featuring the Orchestre Philharmonique de Radio France led by David Charles Abell.

Sunday in the Park with George was taped on October 21–25, 1985, at the Booth Theatre with the original Broadway cast except for Kurt Knudson and Danielle Ferland, whose roles were played by Frank Kopyc and Natalie Polizzi.