Stanek Gallery is proud to present On The Way To Somehow: A Continuous Arrangement, a prelude to the gallery’s forthcoming presentation at Art Miami, bringing together works by Moe Brooker, James Brantley, and a group of artists whose practices enter into dialogue with these two influential painters. On view in Little River from November 13, 2026 through January 2, 2027, including Miami Art Week, the exhibition offers an intimate exploration into the works of Brooker and Brantley and their influence on artists whose practices occupy related spiritual, cultural, and musical territories. At the center of the exhibition is Moe Brooker (1940–2022), whose pioneering practice developed a language of abstraction rooted in rhythm, structure, improvisation, cultural memory, jazz, architecture, and African diasporic traditions. His work establishes the conceptual foundation for the exhibition, while James Brantley, Brooker’s peer and fellow member of the international Recherche collective, provides a figurative counterpart. Where Brooker translated experience through abstraction, Brantley explored it through the figure, focusing on gathering, relationship, memory, and the enduring presence of human connection. Together, their practices establish a conversation between abstraction and figuration, rhythm and narrative, structure and lived experience. Surrounding these two anchors are Michael Bartmann, Valerio D’Ospina, Danny McCaw, SAMDI, Katherine Stanek, and Kathy Loev Putnam, whose distinct practices expand and deepen this dialogue. Rooted in different cultural histories, geographies, materials, and lived experiences, their work affirms the power of artistic practice as a form of individual expression while celebrating the differences that shape each artist’s vision. Together, these distinct perspectives create a dynamic exchange in which contrast becomes a source of connection, allowing harmony to emerge through dissonance. Rather than resolving these connections into a single storyline, On The Way To Somehow: A Continuous Arrangement allows them to remain in motion. Each artist maintains their individuality while contributing to a larger exchange about how we feel, how we remember, how we gather, how we construct identity, and how forms of experience continue to change as they move between people and through generations. Bartmann reimagines interiors and urban spaces, restructuring familiar environments until they occupy an uncertain space between recognition and invention. D’Ospina moves from his classical training toward increasingly fluid and atmospheric constructions placing importance on recreating the sensation of a memory rather than depicting the memory itself. McCaw’s densely worked figurative paintings center on gathering and shared presence, giving physical weight to moments of community and connection. Miami-based Haitian artist SAMDI draws on cultural inheritance and diasporic experience through gesture, symbolism and repetition, creating surfaces in which identity remains active and continually assembled. Stanek’s sculptural practice introduces fracture, weight, and physical interruption through forms in concrete, steel, and bronze that appear caught between construction and rupture. Putnam, a former student of Brooker, extends questions of identity and cultural belonging through layered works incorporating collage, fabric, and printmaking, informed in part by her experience as the mother of two adopted daughters from China. The relationships between these artists are not presented as a fixed lineage or a singular school of influence. Instead, the exhibition considers influence as fluid, accumulative, and transformative, something that moves between artists and is continually reshaped. Brooker’s approach to rhythm, structure, and improvisation finds new expressions across contemporary practices, while Brantley’s attention to the figure and the spaces between people resonates through works concerned with gathering, identity, memory, and belonging. The artists do not imitate one another, yet a discernible thread tethers their practices, revealing shared instincts that emerge through distinctly personal languages. Their proximity brings these affinities into focus, allowing resonance and difference to coexist. The act of making becomes more than a method of production; it is an almost spiritual undertaking as a means of connection, a way of bridging the spaces between one another. In this sense, the works converse not through sameness, but through a shared urgency to translate lived experience into form. Stanek Gallery’s program is grounded in bringing artists together whose practices gain strength through juxtaposition. On The Way To Somehow: A Continuous Arrangement reflects the central idea that form, meaning, and experience are always in the process of becoming. Nothing is entirely fixed. Each work carries traces of what came before while remaining open to what comes next.