Still Too Many belongs to the Behind the Obvious series, in which Abraham Aronovitch uses the bathroom mirror as a structuring device of perception. The work highlights how mental fixation can radically alter the gaze. A male figure stands facing a gray circular surface organized around a single central point, revealing how the mind projects excess where reality remains reduced to its bare essentials.

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Confronted with the mirror, the figure clings to what appears insignificant: a pale circle, a point. This fixation becomes the site of a distortion in which number no longer functions as an objective measure, but as a felt saturation. The painting explores a state of captive perception, unable to detach itself from a minimal presence that ultimately overwhelms the mental space. The mirror does not reveal a real excess, but the effect of an obsession that amplifies emptiness until it becomes suffocating.