Regan Morris greets the millennium by throwing open the shutters and letting some light in. Whereas his 1994 show, “Last Works,” drew a dusky parallel between the Gay ’90s of Tchaikovsky and Oscar Wilde and the present era, with its losses to AIDS, his recent exhibit yielded fresh possibilities from a technique Morris has used for years, and also from the transformative potential of play.

Morris’ new work allies his unique “peeled” painting technique with a brighter palette, supplemented by a concatenation of cut-paper shapes: a pearl necklace, a burning building, a thought balloon, to name a