When another space at the Convention Center became available, Keller and ABMB curator Simon Lamuniere created Nova spin-off Supernova to include more emerging dealers in the fair. And to keep down the cost of participation for the 20 selected exhibitors, the section provides shared spaces for storage, video screenings and meetings. “It will be like a co-op,” Keller explains. “Usually an art fair is a highly competitive situation. But artists use the collaborative model, and museums present group shows, so we are trying to capture some of that spirit.”

Fairgoers making their way to Supernova from the main hall follow a long printed-foil floor installation by Austrian artist Peter Kogler. Inside they discover nascent in-demand talents from such dealers as Max Wigram, of London, who is showing what he deems “the second or third wave of hip young British artists,” including Barnaby Hosking, Marine Hugonnier, Julian Rosefeldt, Christian Ward and Richard Wathen. Sommer Contemporary Art, of Tel Aviv, is spotlighting new work by three rising Israeli artists: photographs reenacting biblical stories by Adi Nes, large-scale paintings by Ofir Dor and a photographic installation by Rona Yefman that gallery director Irit Mayer-Sommer describes as a cross between “a personal and a fictional photo album.” Ellen de Bruijne Projects, of Amsterdam, has a slide show with interactive audio documenting Maria Pask’s participatory installation from last summer’s Munster Sculpture Project.

The Art Video Lounge is located in the Miami Beach Botanical Garden, across the street from the Convention Center, in a pavilion surrounded by sculptures installed amid tropical foliage. For the exhibition inside, Michael Darling, a curator at the Seattle Art Museum, selected regional artists who represent the “real” Pacific Northwest. “On the one hand [the works] acknowledge the natural beauty that surrounds us, but sometimes there’s an underlying sense of violence too,” he says, observing that the landscape depicted in the works “is the complete opposite of Miami—there will be ice skaters and cowboys and forests.” Darling admits to a larger agenda, as well: “Part of my goal is to show that there are artists who aren’t as tapped into distribution networks. It’s the typical plight of artists outside major centers.”

The Art Sound Lounge, also at the Botanical Garden, allows visitors to don headsets and listen to an aural sampling of turntable experiments “from Thomas Edison to Christian Marclay and concrete music from the 1940s and ’50s,” says project organizer David Weinstein, who is the program director at P.S. 1 Contemporary Art Center in Queens. At the beachfront Art Positions, Weinstein is also coordinating the return of P.S. 1’s live radio talk show, as well as a new installation project. He took Keller’s suggestion that he focus on street art and homed in on skateboarding, which moved it “away from graffiti to [focus on] the music and artistic culture,” Weinstein explains. “We thought we should raise the aesthetic to something that was more refined, not just visual noise.” The centerpiece is a ramp where demonstrations will be held, with skateboarding footage and artists’ videos projected nightly.

Among the 20 galleries at Art Positions is first-timer Black Dragon Society, of Los Angeles, which fills its shipping container with a sprawling new mixed-media installation by Gustavo Herrera. Assistant director Cammie Staros describes the effect of Herrera’s combination of oil paint and nontraditional materials like cigarette butts and cardboard as “very colorful and a little bit offensive to some people with a delicate art palate.”

Of course, it can hardly be expected that each of the hundreds of artists on view throughout ABMB will appeal to every taste. But with such a diverse selection, as well as the numerous works at the satellite fairs, all buyers should be able to find something that catches their eye—if it can first capture their attention amid the blur and bustle.