Ask anyone attending Art Basel Miami Beach in 2021 which piece within its unendingly broad maze of painting, sculpture, and installation alike stood out to them the most, and get one answer: The Porsche. As with any good cliché, the inspiration drawn from the German auto manufacturer’s 911 Turbo is of only good reason to have earned the right of a cliché response in interview questions. Omnipotent in its understanding of car design and beyond into the world of industrial, product, and graphic design that knows no adherence to time or place, Daniel Arsham, a visual artist whose work draws no comparisons lest for those memories from which he sources his ideas, has spent years immortalizing the influence that Porsche’s design has had on him. It was at first through the graphic re-design of an his 930A on which he implemented an understatedly classé colorway and expression of design revolving around the history of Porsche’s own racing teams, and, too, of his own race to quickly emerge as one of the most important contemporary concept creatives alive by exploring the existing world of design around him. You may know Arsham for his neo-futurist work taking ordinary – or at least real-world – objects and infusing into them an attention-demanding deconstructed design that bends at will the forces of nature onto a recognizable object through the work of stone, concrete, and crystal forms. You may know Arsham for his Spalding basketballs and corded telephones and Dior bags and Deloreans, all deconstructed to the tune of crystallization. You may know him for his eroded classic Greek and Roman sculptures deconstructed in the same way, his installations turning wall into bed sheet through the magic of crystal balls, or for his Suicoke slipper collaboration. But whatever it is that you may have known him for before, the space becomes undeniably his when you turn a corner at Art Basel and come head-to-head with his eroded 911 Turbo sculpture. At scale alone, the accurately scaled sculptured reimagining of a 911 Turbo would be impressive enough. But to pervade into it the eroding signature of his now universally renowned styling freezes more than the time around it. Like all of Arsham’s work, the Turbo to scale is showstopping, freezing anyone whose gaze passes over it. Like all of his work, it speaks to the conflicting nature of time, where design redesigned by the evocative nature of erosion feels impossibly futuristic. And like all of his work around the Turbo itself, both within Art Basel and across the street at the Arsham Studio driven Design Miami warehouse exploring a future of interior and furniture concept, it was apparent that a larger conversation, not only about Arsham but on the other artists, too, that are transcending painting, sculpture, furniture, product, clothing, experience, and culture at large underneath the banner of technologically and digitally fueled hyper-modernity, a new generation has arrived, whose truest umbrella is simply that of art.