The procedure of painting separate panels in grids, reminiscent of Jennifer Bartlett, seems to have no systemic or additive point here, except to allow Morris to build up huge compositions without being over- committed to any one section. Instead, the insistent grid frames the paint in the sort of crisp, machined architecture favored by corporate buyers. Morris' overwrought vision of apocalypse, which in the past took the form of an all-consuming firestorm, is subdued here to the foreboding of an oncoming thunderstorm, but his vision is still escapist. Rather than a sudden storm, the destruction of Earth's humanity, I fear, is an irritatingly slow and banal process, needing keener observations to be noticed.