In Regards, Abraham Aronovitch continues his reflection on the gaze as a relational experience within the Behind the Obvious series. The bathroom mirror functions as a central dispositif: a structuring space in which the act of seeing is never neutral, but entails a physical position, an emotional distance, and a form of exposure.

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The composition brings together multiple figures whose gazes intersect without ever fully meeting, establishing a silent tension. The painting thus explores a space of uncertainty, revealing how identity is constructed precisely within the gap between oneself, the other, and one’s own reflection. Through these crossed lines of perception, the work suggests that self-recognition is inseparable from the presence of others.