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.

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.

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.

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 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.

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.

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.

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 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.

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.

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

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

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

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

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.

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

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

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

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

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.

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.

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.”