Noh Sang-Kyoon has had but one modus operandi for more than a decade: He glues rows and rows of sequins all over canvases and found objects, giving every item a signature glistening finish. You may have noticed his twinkling sequined Buddhas at the Armory show in 2004 or in Basel any year since 1999; at the Venice Biennale in 1999, he covered three walls with large sequined canvases. Appropriated from the glitzy world of fashion, sequins still register as gaudy, faux-luxe, and sexy, even when applied to monochromatic painting. Tightly aligned on the surface of the canvas, each reflects light,