Ever since her debut in a 2017 exhibition about Rio de Janeiro’s Indigenous history, Sallisa Rosa has emerged as a name to watch on the global art scene. The past five years have seen the 37-year-old multimedia artist’s work included in group shows hosted everywhere from Geneva’s Théâtre de L’Usine to Shanghai’s SNAP Gallery and beyond. This year, during Miami Art Week, she’s in the Magic City for Topography of Memory, her first international solo exhibition, which opens today with Audemars Piguet Contemporary. At Art Basel, a new series of her watercolors and ceramics are on view with Rio and São Paulo–based gallery A Gentil Carioca.

The scope of Rosa’s practice is vast, spanning performance, photography, installations, sculpture, and beyond, but memory, ancestral history, and Indigenous techniques are core to her work across mediums. Topography of Memory is her largest ceramic work to date and consists of more than 100 handmade components created from clay collected from the land surrounding Rio de Janeiro. The free-to-the public installation occupies the stone rotunda at Miami Beach’s Collins Park, where it immerses visitors in a world of liminal space. Ceramic stalagmites rise from the earth while orbs seem to float overhead and around the landscape. Low light cultivates a sense of mystery and prompts self-reflection: What does this remind me of? Have I been here before? One could linger for five minutes, or perhaps 50.

That effect is very much intentional, according to Rosa. “I was inspired to work with memory by my grandma, whose name is América because she was born on October 12,” she tells Surface. “My grandma is a core figure in bringing together the threads that make up my family’s history, but her memory is fading, which inspired me to create extracorporeal ways of storing memory.” Taken literally, the title Topography of Memory and emphasis on hand-sourced clay connects back to the central theme of Rosa’s breakout exhibition as if to suggest that even as a city skyline changes overtime, the land remembers its past.

What’s more, her fabrication processes exclude the use of machinery. Instead, she used a traditional wood-fired kiln that takes three days to heat to 1,472 degrees Fahrenheit, and worked with local ceramic artisans with ancestral knowledge of Rio’s clay topography, imbuing the work with increasingly rare practices and knowledge. With proper stewardship, which the installation is sure to receive as it journeys to Pinacoteca de São Paulo for an exhibition opening March 16, it will become an artifact of knowledge, pre-industrial techniques, and memories to outlast us all.

In an exclusive interview, Rosa spoke with Surface about what it means to be an artist, working with “trash materials,” and re-programming the earth.

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The New York City hub for all things printmaking launched its first Publisher Spotlight in September to connect upstart publishers and printmakers with collectors. Now, the nonprofit exhibition space and art center is partnering with fine art publisher D&S Fine Art Editions to bring a showcase of stone lithographs and prints by Dread Scott, Jenny Polak, Ethan Murrow, and Dasha Shishkin to the lobby of Print Center New York. The rotating presentations were conceived to bring the work of artists who haven’t yet shown at major art fairs or in the city’s blue-chip galleries to collectors and print enthusiasts in the heart of Chelsea.

Returning with bold concepts from an exciting crop of creative talents, the collectible design showcase readies a hopeful eye to the future with thought-provoking pieces united in their optimism and experimentation. Below, our editor rounds up some of the fair’s most impressive works on display.

Tucked into central old town Munich, a pair of buildings unite into the singular Rosewood Munich refreshed by Tara Bernerd. The presence of each remains undeniable: a Baroque past life as the State Bank of Bavaria comes into view in the lobby’s grand staircase, vaulted ceiling, and frescos, above which rise a pair of circular pavilions boasting a quartet of evocative figures in Bavarian limestone. The second building was once the artistic Palais Neuhaus-Preysing. In the center of it all, a two-sided marble fireplace warms both a midcentury Wintergarden and the Palaishof reminiscent of the area’s formal gardens. Both offer all-day dining and afternoon tea, while the Asaya Spa beckons with an indoor pool and private wellness suite.

Each of the 73 guestrooms and 59 suites showcase skyline views, but the property’s true gems are a quintet of houses, all with private butler service. The Prinzessin Ferdinande House has its own suspended-glass bridge while King Maximilan can host a dozen diners at its table by its own fireplace—if they can tear themselves from the private terrace’s view of the Munich Cathedral. More public dining is available at Chef Caspar Bork’s Alpine-themed Cuvilliés, which plates up not just Wiener Schnitzel but also Bavarian Rice with pear, sorrel, and artichoke, while the upstairs bar intoxicates with live jazz and a glass artwork by John Biggs crafted by the famed Mayer’sche Hofkunstanstalt.

Andrés Reisinger is the type of artist whose work demands double takes, from the oasis-like dreamworlds that secured the graphic designer viral Instagram fame to the petal-clad chair he rendered digitally—and then physically—after a follower asked him to make one. That task, it turns out, ended up forecasting how the Barcelona-based talent would spend his next few years as he learned how to fuse digital and physical realms in intriguing new ways. Earlier this year, he unveiled a series of hyperreal virtual art installations that drape his theatrical fluffy, bouncy pink forms over landmarks in London, Paris, Rome, New York City, and Tokyo. As soon as he posted them, inquiries about when, where, and how to see the interventions flooded his inbox.

Once relegated to the Instagram grid, his monumental “Take Overs” can now be experienced in real life during Miami Art Week. He’ll drape an entire Miami Design District building (78 E 39th St) with ballooning pink fabric that injects unexpected verve into a neighborhood already noted for its architectural flair. “The street and building are the perfect representation of everything that contemporary Miami is: vibrant, modern, welcoming, and infused with creative possibilities,” Reisinger says, noting how his signature pink shade aims to spark feelings of universality and shared human experience. “To me, anything that forms an experience is real.”

Nifemi Marcus-Bello’s design approach is rooted in empathy and humility—both in forgoing ego and eschewing preconceived notions altogether to create sculptural and deeply spiritual furniture rooted in respect for Africa’s people and places. From his studio in Lagos, he interrogates why culturally significant materials matter and exist while embracing newness, freeing him up to approach the familiar with fresh eyes and perspective.

You might recognize Pamela Rosenkranz by the electric pink tree she installed on Manhattan’s High Line earlier this year, its delicate branches resembling our nervous and circulatory systems. Now, thanks to a collaboration with sneaker brand On, you can wear some of the artist’s preliminary sketches of the tree on a pair of limited-edition Cloudnova Form shoes. The sneaker’s recycled polyester body is recast as a fleshy canvas on which membranes and vessels shimmer and crisscross, alluding to the forces we contain inside. Pick up a pair exclusively at the Art Basel Miami Beach shop until Friday, when they’ll then be available at On flagship stores worldwide. $170

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