Ten paper folders, split between art studios and physics labs, make the case that origami is both. The film opens with a former sculptor in France who folds caricatures with the character of a Daumier or Picasso drawing, a physicist who left the field to study the mechanics of a folded square instead, and a papermaker who folds impressionistic pieces from paper he makes himself from scratch. From there it moves toward artists working in minimalism and deconstruction, stripping origami down to concept rather than representation, and toward mathematicians who treat a crease pattern as a geometry problem. One interviewee, a MacArthur Genius Award winner, walks through his computational research into how many ways a flat square can be folded and what that math is good for outside of paper. The film cuts between folding tables and interviews, letting each subject argue for a different reason the medium matters, and the throughline is the same object in every segment: an uncut square, and what happens when someone commits to folding it a particular way.