Christian is the curator of the X-Royal art museum in Stockholm, formerly the Royal Palace. He is interviewed by journalist Anne, who struggles to explain museum jargon. The tension between art, perception, and accountability sets the stage for a series of unsettling events that blur the line between curator and public figure.
Later, Christian is pulled into a confrontation at a pedestrian zone, after which he notices that his smartphone and wallet are missing, along with his cufflinks, presumably stolen in a confidence trick. Christian is able to track the position of his phone on his computer, which he and his assistant Michael trace to a large apartment block. They write a threatening anonymous letter demanding the return of the phone and wallet by depositing them at a nearby 7-Eleven. Christian puts a copy of the letter through each apartment mailbox that night. Several days later, a package for him is deposited at the store, containing the phone and the completely untouched wallet.
Euphoric after the success of his plan, Christian goes to a party where he meets Anne again, before ending up in her apartment. After the two have sex, Anne offers to throw away a used condom but he steadfastly refuses to hand it over to her. They argue over the situation, as she believes he does not trust her to dispose of the semen rather than take it. Several days later, Anne meets Christian in the museum and states she is looking for more than casual sex. She asks him if he feels the same, but Christian is evasive. When Anne later tries to call him, he does not pick up the phone.
The day after picking up the package, Christian is informed that a second one has arrived for him at the 7-Eleven. Suspicious, he sends Michael to pick it up. In the store, Michael is confronted by a young Arab boy who states that his parents believe that he is a thief because of the letter and demands that Christian apologizes to him and his family. Otherwise, the boy threatens to create "chaos" for him.
Later, the boy visits Christian's home and confronts him, along with his two young daughters, on the staircase. Christian tries to send him away but the boy begins to knock on doors and screaming for help. In a fit of frustration, Christian pushes the boy down the stairs, though no one comes to his aid. Disturbed, Christian desperately searches the trash outside the house for a note which contains the boy's phone number. After finding it and unsuccessfully trying to call him, Christian records an apologetic video message.
In the midst of these troubles, Christian has to manage the promotion of a new exhibition centered on an art piece called The Square by Lola Arias, which is described in the artist's statement:
> The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.
The advertising agency commissioned by the museum to promote The Square states that they need to harness social media attention with something other than the uncontroversial and bland artist's statement. Advertising agency representatives consider a depiction of violence contradicting The Square's message, developing a promotional clip showing an impoverished girl entering The Square and being killed in an explosion. The video is published on the museum's website and YouTube channel after a distracted Christian gives his approval without viewing it.
The clip goes viral, quickly reaching 300,000 YouTube views, but receives an extremely hostile response from the media, religious leaders and the general public. The museum arranges a press conference, where Christian states he violated protocol and is stepping down as curator in mutual agreement with the board. Several journalists then attack him for stirring up cheap controversy with a tasteless clip, while others attack him for self-censorship because of his resignation.
Feeling guilty about wronging the boy, Christian drives to the apartment block several days later and tries to find him and his family. Christian talks to a neighbour who states that he knew the boy but that his family has moved away.
