Sonia, a Polish artist living and working in New York City, is about to drift off into exhausted sleep when she awakens, panicked. She regrets a concession she made earlier in the day about the installation of her paintings for a show. She races back to the gallery and begs her gallerist, Elena, to give her the paintings—which Elena, concerned about Sonia’s overwrought state, does. Sonia takes the paintings—two of ten representations of the “socialist fraternal kiss” between Erich Honecker and Leonid Brezhnev—but accidentally forgets them in an Uber. After realizing she did not have the paintings anymore, she and her friend, an art critic, begin a hunt for the lost art. They first retrace Sonia’s already-taken steps. After realizing she had left the paintings in the car, she called the driver, Kashif, and told him to “come here now, now”. However, Kashif had assumed she was his next customer and hurried to his next destination, picked up and dropped off that customer, before doubling back to Sonia’s location without her paintings. That second passenger stole the paintings. Due to Uber policies, however, Kashif won’t reveal the identity or location of this passenger who presumably took Sonia’s art. So Sonia and the narrator go to the Uber corporate offices in Chelsea, where the representatives refuse to help them due to the same Uber privacy policy that bound Kashif. Then, the pair heads to the Seventh Precinct on the Lower East Side, where the police are unable to do much other than offer to threaten Kashif—an offer Sonia apparently declines. But she herself manages to convince Kashif to give her the address. She and her friend go to the seventy-one unit building where Kashif dropped off his passenger earlier that day. There, Sonia's friend finds an annotated copy of a volume in which his writing has been published—and also realizes that the building itself played a part in the chain of events that had, years earlier, led him to make Sonia’s acquaintance. They knock on the door of apartment 1-A, which is answered by a confused, possibly high, young man—and Sonia grows suddenly exhausted. She and the narrator return to her home, but she plans to go out the next morning to knock on each door in the building. The narrator, who doubts Sonia will recover the paintings, reflects on the subject-matter of Sonia’s art and the fickleness of fate while she sleeps.