Spontaneity continues to inform Selma’s choices at Adesso. Next to a Miroesque squiggle she hand-painted on the wall opening night, a 30-foot-long 1920s kayak hangs beside a gleaming Murano chandelier. A pair of 18th-century, hand-carved colonial mirrors from Peru are displayed above a Chesterfield sofa. “The pieces have to speak to me and have some form of beauty that stands out,” Selma says.