Rebecca Morris likes to compartmentalize. Her paintings, smartly installed at Mary Boone’s Fifth Avenue location through February 25, feature symmetrically placed geometric shapes, sometimes collaged onto the surfaces of the large-scale canvases. Each of the shapes, large squares or circles,is divided into numerous smaller shapes that have been casually filled with improvised patterns, line, and brushwork. Morris’s paintings at first seem aligned with work by contemporary painters like, say, Trudy Benson, Lauren Silva, or Leah Guadagnoli, who use kitschy elements from ’80s graphics–stepped rules, drop shadows, squiggles, pastel palettes. But rather than evoking the gormless charm of this earlier era, Morris’s abstractions are confrontational and challenging