Albert C. Barnes made a fortune from a patent medicine, then spent it building one of the world's great troves of Impressionist and Post-Impressionist art, filling his galleries with Cezannes, Matisses, and Renoirs while keeping the art world's critics and dealers at arm's length. The film traces his rise from a working-class Philadelphia upbringing to a collector wealthy and stubborn enough to hang his paintings exactly as he pleased, arranged by his own idiosyncratic logic rather than any curator's. Decades after his death, that arrangement becomes the center of a different story: art historians, architects, and construction crews working to relocate the entire collection into a new building without breaking the founder's rules about how the works must be displayed. Interviews with the people doing that work sit alongside the history of Barnes himself, a man remembered as much for his feuds with Philadelphia's museum establishment as for his eye. The film treats the move as both an engineering problem and an argument about who gets to decide how art is seen.