Morris's bifurcated output falls into two categories: colorful, if somewhat corporate-looking geometric abstractions that appear made-to-order for the boardroom; and equally chromatic, even sumptuous films, each of which usually takes a particular urban environment as its subject. In the past, this has included places like L.A., Chicago and Beijing, and through them all, Morris's camera glides serenely, taking in the sights like a 19th-century Parisian flaneur. What do the two halves of Morris's work have to do with each other? They appear to work in concert to reduce the vastness and complexity of globalist society into a kind of pleasing formalist code. Her new show presents her latest film, shot in Brazil's Rio De Janeiro, as well as a suite of accompanying canvases.