Marry Me belongs to the Behind the Obvious series, in which Abraham Aronovitch uses the bathroom and the mirror as structuring devices of the composition. In this work, the mirror does not merely return an image; it becomes a surface of inscription where the words “Marry Me,” traced with a finger, introduce a statement without a clearly identified addressee. The dispositif organizes the scene by distancing the body, the word, and the gaze.

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Facing his own reflection, the man slowly inscribes this request. The utterance emerges from the gesture and then appears to detach itself, remaining fixed on the screen now formed by the reflective surface. The work thus establishes a silent tension between desire, projection, and assignment. Here, the mirror acts as a revealer of intimate expectation—a place where speech is projected without ever being resolved—capturing the fragile instant when a private thought becomes a visible trace.