I'm not going to have a whole lot to say about this because, as you note, there's not much here. Yet. I will say that had there been more, I'd have been glad to have read it.

Before I talk about what I see as the challenges ahead, I have to say that if you want to be taken seriously, you have to get your verb tenses sorted out. Choose: past or present. You're not Vonnegut and this isn't Slaughterhouse Five where you slip back and forth in time.

For the first half, you are comfortably in past tense. Like so:

So absorbed was he with his crusty eyes and exploding head that he paid no mind to those milling around...

Then, with no warning, or justification, you plunge headlong into this sentence (in the middle of paragraph, no less):

Presently, he stands at the corner of the two streets...

From then on till the end, there's no turning back. At the point where you shift from past to present, whoever you might have submitted this piece for consideration would have given up on you. It's the kind of rookie blunder that doesn't belong in a selection of prose that is otherwise quite mature and well crafted. Here's the thing about grammar: it's not creative, it doesn't depend on inspiration or visits from your muse. It just takes cracking a book and learning the lessons. So do your homework.

On to the structure. So far you've managed to set the stage nicely, assuming the referenced art collection in the opening paragraph, as well as the fact that it is pornographic in nature are scheduled to become major plot points. Otherwise, why open with them. Readers have a habit granting you the benefit of the doubt before they have a sense of what's going on. They'll assume you know what you are doing and will hang in there until you prove otherwise. So that art collection and its erotic content will be filed away in memory registers, there to sit until your story calls upon them to do their work, at which point your reader will unconsciously congratulate you for following The Law of Chekov's Gun which basically says that if you need an element later on, set it up earlier on.

If, on the other hand, you've opened with what proves to be an irrelevant bit of information, it will just sit there in your reader's memory, taking up space and wasting time.

I like how you take us into the nature of Stanley's work, which is really a function of your narrative voice. This type of narration is tricky: not quite a full-blown character in the story, yet offering much more than rote exposition. This is a voice with personality, opinions, and, perhaps, a willingness to be unreliable. It's a voice with motives and we might not know what they are. Nothing wrong with that, of course, but it's important to know that when you choose to present your story to the reader through such a voice, they will recognize any inconsistencies, not just in plot or characterization, but in the narration itself.

So far, there is no story, simply a set-up that could go in any number of directions. Can you craft a plot? Facility with words such as you've shown is not guarantee that you can come up with a sequence of decisions and actions that all seem random, and yet, inevitable. Can you get your reader to think to themselves, "Gosh; I wonder what's going to happen next." Keep them wondering, and keep satisfying their curiosity, and they'll remain your reader.