A flight of stairs pointedly separated two dramatically different visions in David LaChapelle’s recent exhibition “Letter to the World.” On the gallery’s ground floor, verdant landscapes and colorful nymphs (all drawn from the artist’s experimental roots and noncommercial work) evoked a paradise lost, while a much darker scene unfolded in the basement (composed of more noncommercial work, in addition to LaChapelle’s better-known, iconic portraits of David Bowie, Miley Cyrus, and Lil’ Kim, among others). Among the twenty-nine pieces in the enchanted ground-floor hanging, seven were from the 1980s,