What’s Happening: Over the past five years, Kasseem Dean (better known as Swizz Beatz) and Alicia Keys have assembled perhaps the most significant collection of work by contemporary Black artists. Now, the Brooklyn Museum is preparing to showcase a small swath of it in its McKim, Mead, and White–designed Great Hall.

The Download: The Brooklyn Museum is no stranger to exhibitions that fearlessly color outside the lines of academic tedium. Such risk-taking means that, at times, the programming doesn’t quite stick the landing. When it does, it has the power to shift the cultural lexicon as we know it. (Look no further than how the runaway success of “Christian Dior: Designer of Dreams” inspired the fashion house to stage its forthcoming pre-fall runway show there come April.) At present, the museum is in all-hands-on-deck mode preparing to unveil “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys.”

From Feb. 10 through July 7, nearly 100 works from the duo’s collection will adorn the museum’s Great Hall. The Dean Collection, which takes Kasseem’s last name, is the stuff of legend. As a teen, the Bronx-born musician used the earnings from his first-ever hit to purchase an Ansel Adams photo. That simple transaction catalyzed a love of collecting that has continued to grow in recent years, ballooning his collection from around 400 pieces to the thousands, with an emphasis on buoying the market for works by contemporary Black artists. Works by Titus Kaphar, Amy Sherald, Nina Chanel Abney, Meleko Mokgosi, Arthur Jafa, Odili Donald Odita, and Hank Willis Thomas are just a handful that visitors can look forward to seeing when the exhibition opens on Saturday.

Neither the collectors nor the Brooklyn Museum positions it as such, but “Giants” lands as something of a response to the seminal Kehinde Wiley exhibition staged there in 2015. While walking through the show, Dean realized that not a single work was owned by a Black collector. The moment galvanized him to acquire the 8.5-by-25-foot-long painting Femme piquée par un Serpent, the largest work of Wiley’s he could find, which will appear in “Giants.” Anyone who bothers to check the art industry’s pulse knows that Dean isn’t an arriviste—he’s a serious market force unto himself who has undertaken the laboriously unsexy mantle of championing artist royalties, staging seven international editions of the No Commission art fair, and lending his expertise to fellow collectors with the power to set new sales records for works by living Black artists.

In Their Own Words: “There is great brand recognition with the Deans,” says Kimberli Grant, the museum’s curator of modern and contemporary art. “People love Swizz Beatz and Alicia Keys, but they don’t know them as collectors,” With any luck, that will soon change.

Surface Says: We’ll gladly take a pleasant stroll to the museum over the late capitalist nightmare of VIP days on the fair circuit to see this caliber of artwork.

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Introducing Starving Artist, a partnership series with Dorsia, in which we send creatives to dinner to make an artwork that reflects their experience. This week, New York–based fashion illustrator Blair Breitenstein offers up a drawing from a night out at Manhattan’s buzzy Torrisi.

“The original concept for the artwork about my experience at Torrisi was about food, but then I met our waitress, Amelia. With her black bob, red lip, and glasses, she looked like she stepped right out of one of my drawings.

Torrisi is a chic spot—the stylish uniforms with cream coats were striking against the green backdrop. New York has this fashion vibe to it and I definitely felt it at Torrisi (as I was walking in, I even noticed a well-known designer heading out). I like it when a waiter has strong opinions about the menu and is enthusiastic about their favorites—excited to be part of the experience.”

Travis Talmadge and Jason Goodman never liked spas. “[It’s] often an isolated experience,” they told Vogue, “but bathhouses are bustling, fun, and engaging places.” So they co-founded Bathhouse, a wellness destination that mingles the vibrant social elements of bathhouses with state-of-the-art treatments at reasonable prices. Combining the best parts of a no-frills banya and a first-class spa, it opened in a former Williamsburg factory awash in exposed brickwork and subway tile. Five years later, and the duo has unveiled its second act, a three-level haven in Flatiron that delves further into redefining our notion of the spa experience.

Bathhouse Flatiron trades its predecessor’s industrial details for nocturnal allure—think a nightclub or hotel bar rather than classical thermae. The moody palette comes courtesy of Rockwell Group, which embraced the “Hero’s Journey” motif from classical mythology. Each component at Bathhouse, the firm says, would have a narrative corollary to an epic odyssey, including mentors guiding visitors along the road to R&R. “A defining piece of Bathhouse’s ethos is about connection,” principal David Rockwell tells Surface. “This element of connection is important in our work as well. Where can we create space for meaning and memories?”

Answers lie at nearly every turn. A monolithic travertine reception desk quickly sets the tone, as do portals of luminous fluted glass escorting guests underground to a domed vestibule. Locker rooms are intentionally labyrinthine to amplify the sense of mystery; black mirrored portals create intimate clusters of changing areas, enhanced by the shimmering, water-like reflections of glass pendants. Descend further to the pools and treatment rooms, which include heated hammam benches clad in black meteorite stone, ceremonial cedar-lined saunas, and cave-like scrub rooms bathed in gentle light. The downlit lounge and café on the way out will surely buzz with a convivial sense of post-treatment calm—a surefire sign the odyssey is drawing to a close.

You could say design runs deep in the veins of Buster + Punch founder Massimo Minale: the trained architect by day, custom motorcycle maker by night learned a great deal about timelessness and streamlined design from his father Marcello. Through his creative studio, Minale & Tattersfield, the elder Minale crafted brand identities for the likes of Fendi, Harrods, Valentino, and Armani. Fast forward to today, and Massimo is celebrating 10 years of presiding over his own studio.

Inspired by a dearth of high-end door knobs, faucets, and light switches befitting the caliber of architecture projects he was spearheading, Massimo channeled his masterful metalworking skills cultivated from his affinity for making motorcycles and struck out on his own. Since then, Buster + Punch’s offerings have expanded to include furniture and collectible design.

On Feb. 1, polymath and art market economist Magnus Resch celebrated the publication of his new book, How to Collect Art, a veritable acquisitions manual published by Phaidon. More than 200 well-wishers from Miami’s vibrant creative community turned out to the Institute of Contemporary Art in the Design District for the occasion. There, avid art aficionados from the city’s enclave of media, sports, and culture watched as Resch discussed the nuances of collecting with fellow art enthusiast and former NFL player Byron Jones.

When was it? Feb. 1

Where was it? ICA, Miami

Who was there? Carlos and Rosa de la Cruz, Kennedy Yanko, Alex Gartenfeld, Dennis Scholl, and more.

Perennials and Sutherland are icons and acknowledged leaders in the global design industry. Founder David Sutherland and chief creative director Ann Sutherland share an ingenious talent for curating the finest interior and exterior collections of furniture, fabrics, rugs, and accessories.

Surface Says: It’s easy to see why, for more than 20 years, design pros and in-the-know clients have looked to Perennials and Sutherland for high-end textiles designed to stand up to the demands of everyday life.

A “gouged” building in London lets passersby appreciate church windows.

Scientists are starting to worry about the moon’s shrinking circumference.

An injectable anti-aging drug for senior dogs has entered clinical trials.

In an op-ed, Noam Chomsky weighs in on the “false promise” of ChatGPT.