In Just Justice, Abraham Aronovitch infuses the structural device of his Behind The Obvious series with a radical critical charge. The bathroom tiling, through its domestic clarity, simulates a reassuring normalcy, brutally betrayed by the mental projection occurring within the mirror. In the upper left, a clock with empty numbers signals the bankruptcy of social time—a desperately slow justice where equity vanishes behind arbitrariness.

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The mirror is no longer a surface for recognition, but a zone of chromatic stasis where the subject confronts the silent violence of a broken social contract. Aronovitch does not depict a specific injustice, but rather the psychological cost of a system that drifts and unravels. Between the physical presence in the foreground and the abyss of the reflection, the work highlights a political urgency: when the institution no longer guarantees equality, the subject is forced to retreat into their own "integrity." The mirror thus becomes the final sovereign courtroom where the individual, outside of a corrupted time, must deliver their own verdict.