"INTERIORS" - Pierre Bonnard, Marc Camille Chaimowicz, William Copley, Édouard Vuillard - NYTimes.com 525 West 22nd Street, Chelsea Through Feb. 11 "Interiors" lets some fresh air into the "Intimist" rooms of Bonnard and Vuillard, with help from the contemporary installation artist Marc Camille Chaimowicz and the late-Surrealist painter William N. Copley. In the front gallery Mr. Chaimowicz's "Basel Sequence," five overlapping panels of plywood painted with feathery designs in pale pink, green and lavender, suggests an upscale nursery. But his untitled wallpaper makes an excellent backdrop for Bonnard's "Breakfast Room" (1925), on loan from the Brooklyn Museum. It picks up on the painting's maroon and chartreuse palette, as well as the hourglass form of a candlestick on the sideboard. The same wallpaper appears in the back gallery, behind Mr. Chaimowicz's delicate console of birch-veneered plywood and Formica. On the facing wall is Vuillard's "Madame Hessel et Lulu à la Baule" (1931), a small oil on cardboard of a matronly woman whose viridian green jacket matches the drapes on her French windows. The slightly stuffy ambience of these rooms is enlivened considerably by Copley's perversely decorative paintings. In "Small Sonata" (1965), a female nude strums a piano as a small boy and a faceless man in a bowler hat look on. And in "Under the Law" (1981), a policeman brandishing a billy club reaches out from a painting, startling a couple in a clinch. More to the point, both works confuse figures and interiors with broad, squiggly contour lines, carrying the latent sensuality of Bonnard and Vuillard forward into sex-obsessed Pop and Surrealism.