• I attended Art Basel Miami Beach for the first time from December 6 to 8.
• During the weekend, I viewed several exhibitions, spoke to artists, and went to a party and concert.
• This article is part of BI's 2024 Art Basel series, taking you inside the art fair's global scene.

On the second level of the expansive Miami Beach Convention Center, I sat on a chair and rummaged through my tote bag.

It was my first day at Art Basel Miami Beach, and after trekking from the main entrance to the media center, where I picked up my press pass, I was already weary from walking in heels. Thankfully, I packed a pair of flat sandals.

Based on my research, I knew that Art Basel Miami Beach would be equal parts exciting and overwhelming. So, as a first-timer, I went with a plan: "Bring extra shoes, grab a map, have an idea of which exhibitions to view, appreciate the art, talk to the artists … and have fun."

I was able to do all of that and then some. Throughout the weekend, I enjoyed the various multicultural exhibitions presented by 286 galleries from all over the world. Bridget Finn, the director of Art Basel Miami Beach, previously told me that she believes this event is "often the platform where new trends in art appear." Based on the works I saw, I'm inclined to agree.

From cool installations to lively social gatherings, here are some of the top highlights from my weekend at Art Basel Miami Beach.

I arrived on Friday and was eager to dive in.

I arrived at the fair in the early afternoon on Friday, bright-eyed and bushy-tailed. I was keen to see all the different artworks, but my main goal was to find some of the most alluring activations and exhibitions and speak with the artists behind them.

An activation at the UBS Art Studio caught my eye right away.

I was immediately drawn to an interactive setup suffused with bold red hues and pillars covered in yarn. The UBS Art Studio was showcasing a collaboration between Sarah Zapata, a Peruvian-American fabric artist, and Larry Ossei-Mensah, the curator and cofounder of the nonprofit art organization Artnoir.

The installation, called "Upon the Divide of Vermilion," allowed attendees to make mini pom-poms using yarn. Zapata and Ossei-Mensah said the goal was to make art feel fun and accessible to anyone.

"This is my first time showing at Art Basel, so I feel so thankful," Zapata told me while showing me how to use a pom-pom maker.

Ossei-Mensah hadn't made his own pom-pom yet, so he sat down to craft with me and talk about his career journey in the art world. "I started out doing photography and then expanded into writing about artists of my generation," he said while picking out his yarn. "Then I realized there weren't enough platforms for them to be seen, so I started curating."

He cofounded Artnoir in 2013 to create "community and connectivity for Black and brown folks, queer folks, and folks who have always felt in the margins," he said.

Crafting made me feel relaxed even though my creation didn't last very long.

My pom-pom featured soft pink and dark purple yarns. Sadly, I didn't tie it together correctly, so it fell apart in my tote bag by the end of the day. I didn't get a picture of my pom-pom before its demise, but I had fun making it so that counts for something.

Zimbabwean sculptor Terrence Musekiwa's exhibition was one of my favorites.

I was excited to view Musekiwa's exhibition after researching some of the artists who would be in the Positions sector, which highlighted emerging artists. I saw some of his sculptures online, but studying his humanoid creations up close and personal was mesmerizing.

Musekiwa's sculptures were unlike anything I've seen before.

Musekiwa told me that he comes from a family of sculptors and likes to explore classical elements using discarded materials such as copper wires, brass, and artillery shells. "I have so much in my mind about how I can execute something," he said. "Sometimes, I try to choose materials, but I have to let the materials choose me."

His works clearly resonated with attendees: Catinca Tabacaru, the owner of the eponymous gallery representing Musekiwa, told me eight of his sculptures were sold that week. (VIP attendees received early access to Art Basel before the fair opened to the public on Friday.)

As I was speaking with Musekiwa, another sculpture was snapped up by a collector from Tokyo.

Sagarika Sundaram, an artist who uses raw, natural fibers and dyes in her works, had some of her stunning textiles on display.

UBS, the global lead partner of Art Basel, commissioned Sundaram to create a centerpiece for the UBS Lounge, and I got exclusive press access to view it. The final product, titled "Released Form," was a large, striking two-sided textile covered with colorfully dyed and meticulously layered wool. The installation, which was draped from the ceiling, opened on either side, revealing a three-dimensional quality.

I told Sundaram one side felt like a cosmic explosion of wool, and her eyes lit up. "Yes, it's controlled chaos," she said. She added that the other side was a "directional, pictorial abstraction." In the lounge, a large television played a short film shot by Ania Freer that showed how Sundaram brought the masterpiece to life with her team.

I saw captivating paintings created by the Brazilian artist collective MAHKU.

Finn told me MAHKU's exhibition was among the most exciting in the Positions sector. This particular work's bright hues and serpentine design had a charming energy.

On the second day of Art Basel, I gave myself a moment of stillness before jumping back in.

I was admittedly exhausted when I headed back to Art Basel on Saturday, but caffeinating with an iced chai latte helped. I also recharged a bit by taking some time to sit outside, soak up the sun, and enjoy the views before entering the venue.

I wanted to spend more time perusing as many exhibitions as I could.

I dedicated my second go-around to viewing Meridians, dedicated to large-scale projects, and Nova, which showcased works created within the last three years by one, two, or three artists, according to Art Basel's website.

Zhu Jinshi's oil paintings employed remarkable texture and color.

This piece, titled "This triptych is as gorgeous as the autumn in a scented room," featured thickly layered oil paints on a canvas that stretched nearly 16 feet wide.

A closeup of Zhu's work shows just how extraordinary it is.

Zhu's textural technique allowed qualities of beauty and heaviness to coexist.

Zhu's "Pathway" installation was another eye-catching display.

The colossal work was made from Xuan paper, cotton threads, steel frame structures, and bamboo.

Alice Aycock's "Goya Twister" created a dynamic illusion of movement.

Standing 15 feet tall, this structure — made from aluminum coated in white powder — was hard to miss and even harder to look away from.

Olafur Eliasson's "The galaxy of uncertainty," was made from beautiful glass spheres.

The reflections on the glass made this exhibit look different as viewers walked by it.

Art Basel Miami Beach also gave locals and visitors a chance to socialize at exclusive parties, including Nylon magazine's annual celebration.

The Nylon House party was an exclusive — albeit massive — bash. Celebrities such as Camila Cabello, who is Nylon's latest cover star, and Janelle Monáe attended the event.

Some VIPs were able to board a yacht.

A docked yacht behind the house added to the party's ritzy atmosphere — and allowed VIP guests to escape the larger crowd.

Hugel, a chart-topping DJ, performed a lively set.

A crowd full of celebrities, creatives, and influencers enjoyed mixes from the French-born DJ.

A dancer onstage also helped keep the energy up.

Hugel's set was entertaining, bringing good vibes and heart-thumping beats to the party.

Ludacris, the headliner at Nylon's party, came out and lit up the stage.

The Grammy-winning rapper performed hits such as "Stand Up," "Money Maker," and "My Chick Bad."

I also attended a Tribeca Festival concert hosted by Soul in the Horn at the Miami Beach Bandshell.

The concert kicked off with a set by L3NI, a DJ and producer. She's also the general manager of Soul in the Horn, a brand that unites music artists and creatives.

Luedji Luna, a Brazilian singer, took the stage in a stunning sequin dress and serenaded the audience.

Luna had a magnetic stage presence and connected with her band and the crowd as she sang and danced. I wasn't familiar with her music, but it didn't matter; I still had the most amazing time dancing and listening to her sultry vocals.

Natasha Diggs put on an electrifying set alongside a saxophonist and trumpeter.

Diggs, a Brooklyn-based DJ, brought her vibrant musical and sartorial style to Miami Beach. She mixed feel-good songs, including Chaka Khan's "I'm Every Woman" and Bill Withers' "Lovely Day."

• Bridget Finn is the new director of Art Basel Miami Beach, set to have 286 galleries this year.
• Finn spoke with Business Insider about planning the fair and giving a platform to emerging artists.
• This article is part of BI's 2024 Art Basel series, taking you inside the art fair's global scene.

Inside the contemporary-art gallery Bortolami, there's a stillness unperturbed by the bustling sounds of its Manhattan neighborhood. It's especially peaceful on a sunny Tuesday afternoon when Bridget Finn — a veteran gallerist, archivist, and art dealer — arrives for our editorial shoot.

She warmly greets me and the photographer, Paola Chapdelaine, before changing into her photo-shoot attire: a black button-down dress adorned with bows on either side, yellow mesh boots, and statement eyeglasses. I feel compelled to compliment her chic ensemble, and she responds with a gentle smile and a soft-spoken "thank you."

As Finn poses against the backdrop of the gallery's exhibits, she looks right at home. After all, she's worked in the art world for over 20 years, climbing the ranks and building rapport at galleries around the world, including Bortolami. The latest feather in her cap is helming this year's Art Basel Miami Beach show as its new director. Her directorship started in September 2023, and she's spent the past year planning the 2024 art fair, set to commence publicly on Friday.

"Thinking about the show as a platform and how to develop structures of support for peers was incredibly important to me," Finn told me on a video call a week before we met at Bortolami, one of 286 galleries presenting works at Art Basel. "I have always been drawn to art as a way of forging cross-culture dialogue, and I think that art fairs are a huge player in this realm."

Shepherding an event as massive and multicultural as Art Basel is a tall order. Finn said she tackled it by taking "the role of a listener" and meeting with several stakeholders, including artists, "connoisseur collectors," and gallerists that are interested in showcasing their exhibitions. The objective, she said, is to accommodate everyone's desired experience and "have the best show possible."

Admittedly, Finn added, trying to meet everyone's needs was a challenge.

For instance, when her team members mapped out the floor plan at the Miami Beach Convention Center, a 1.4 million-square-foot venue, they had to consider multiple factors: how to physically plot booths and exhibitions, how to make the space easy to navigate for attendees, and how to sensibly connect different sectors in the massive building. If they made a change that affected a gallery's placement on the show floor, they had to ensure the gallery was aware and aligned with the decision.

"With everything in the art world, there was a balance of flexibility — figuring out where we can be flexible and then what is an absolute must," Finn said. "It was a learning curve."

This year, 34 galleries will make their Art Basel Miami Beach debut, the most first-time participants at the fair in over 15 years. They're "international in scope," coming from different regions in the Americas, Asia, and Europe, Finn said.

Exhibitors are chosen by Art Basel's selection committee, which sifts through hundreds of proposals and applications from galleries. It's a "very layered and involved " process, Finn said, but essentially, they're looking for submissions that are "a cut above the rest."

"Of course, there is some subjectivity to that, and that is up to them to define," she added.

Finn said she hoped the galleries would bring "a dynamic energy" that attendees can feel when they step into the venue.

"I would be so bold as to say that Art Basel Miami Beach is often the platform where new trends in art appear. It's where they get pushed even further," she said. She added that the slate of emerging artists, part of the fair's Positions sector, would help create a "feeling of freshness."

Finn said she's excited to see all the Positions works, notably exhibitions from three artists and a group: Agosto Machado, a New York artist and activist of Chinese, Spanish, and Filipino descent; Terrence Musekiwa, a Zimbabwean sculpture and installation artist; Diego Vega Solorza, a Mexican dancer and choreographer; and MAHKU, a Brazilian artist collective that uses its proceeds to buy, preserve, and protect land around its native village in the Amazon region.

Artnet's "Intelligence Report" said the art industry saw a dip in fine-art auction sales in 2023 — a snapshot of a larger trend of global art sales declining last year.

But Finn said she's seen signs of a bounce back throughout this year.

"Things are appearing to go in the right direction in terms of market stability and sales," she said. "Galleries have started thinking very strategically about how to define themselves and their program and the artists they work with in an art-fair context."

When done right, this tactical approach can help support the enduring role of artists, Finn told me.

"Artists have led the way through difficult times of transition in society throughout history. This is nothing new," she said. "They have this ability to bring people together, start a conversation in a way that may be challenging in other arenas, and impact change in society. I believe that so fully."