A one-act play comprising four scenes, Disgraced opens with a married couple in their Upper East Side apartment. Emily, a white painter whose art takes inspiration from Islamic tradition, sketches a portrait of her husband Amir, an American-born lawyer who has renounced his Muslim background. The couple discusses the night before, when Amir was mistreated by a racist waiter. The incident inspires Emily to paint a portrait of Amir based on Diego Velázquez's Portrait of Juan de Pareja, which depicts a former slave who serves as the artist's apprentice.
Amir's cousin Abe, who has changed his name from Hussein to obscure his Muslim background, visits the apartment. He asks Amir to support at trial, but not represent, an imam who is being tried for allegedly raising money to fund terrorism. Amir rejects the idea, citing his disavowal of Islam, but Emily convinces Amir to support the man.
In the second scene, Amir and Emily read the New York Times aloud. Listening to the article about the defiant imam's trial, Amir is frustrated that the article quotes him in a way that makes it seem like he is the imam's attorney, obscuring the fact that Amir was only there to support the imam. Emily tries to reassure Amir that the article will not hamper Amir's expected promotion to partner at his legal firm.
Amir exits when Isaac, a friend of the couple's and a curator at the Whitney Museum of American Art, arrives. Isaac and Emily discuss the possibility of her being included in a show he is curating. Emily argues that her use of traditional Islamic forms is not an ironic appropriation but an acknowledgment of Islam's historical influence on Western culture.
In the third scene, Amir drinks angrily on the terrace, smashing a whiskey glass. Emily arrives with groceries and reminds him that Isaac and his wife Jory are coming to dinner. During dinner, Isaac reveals that Emily will be included in the new show. A discussion of Emily's work leads to hostility between Isaac and Amir, descending into disagreements over interpretations of the Quran. Amir rejects Isaac's and Emily's well-meaning appreciation of the sacred power of Islamic traditional art and architecture, saying that Islam has nothing to do with art and everything to do with an outdated, brutal way of life that foregrounds resentment. Amir admits that he felt a blush of pride when the Twin Towers fell on 9/11. He explains that he knew it was an atrocity, but some deeply inscribed part of himself was proud because it meant that for once the West was not winning. He says these are feelings of which he has to work hard to rid himself. He accuses Isaac of having similar feelings in regards to Israeli occupation of Palestinian territory, despite Isaac being critical of Israel.
Emily makes Amir follow her to the kitchen. While the hosts are off stage, Isaac calls Amir a closet jihadist. Jory wonders if Amir already knows the news that she made partner instead of him. Emily and Amir return. Amir apologizes for his behavior and says he is going to get champagne. Jory joins him. Left alone with Emily, Isaac confronts Emily about Amir's bad behavior and tries to convince her that she will inevitably leave him. Isaac mentions when he and Emily slept together on a recent trip to London. He tries to kiss her, but she resists. Isaac then tells her about Jory's promotion. He tries to kiss her again, and Emily doesn't lean in or away. Just then Jory comes in and catches them in a moment of intimacy. Amir follows, enraged to have learned he was passed up for the partnership, and Jory asks Isaac and Emily to tell the truth of what is going on between them. Emily and Isaac lie, saying he was merely trying to console her. Amir berates Jory for ruining his career and trying to ruin his marriage, using a racial epithet while disparaging her lack of work ethic.
Jory and Isaac leave. Emily admits to having slept with Isaac in London. Amir erupts in sudden violence, beating her until he stops and asks aloud what he has done. At the same moment, his nephew Abe walks in and sees Emily's bloodied face.
The play concludes with a fourth scene that takes place six months later. Amir is packing up possessions in the apartment when Abe and Emily arrive unexpectedly. Abe explains, at Emily's prompting, that he was interrogated by the FBI after his friend used cryptic terrorist language to intimidate a barista at Starbucks. Amir reprimands Abe for not being more careful. Abe reveals that Amir's disgraceful behavior has made him give up on ideas of assimilation and turn toward Islamic fundamentalism, explaining that if someone like Amir can't find his place in American society, then what chance does Abe have. Abe exits when Emily overhears him.
Through conversation, it is revealed that Amir has been sending Emily letters she hasn't responded to. Amir attempts to apologize and reconcile, but Emily asks him to stop writing to her. She leaves, and Amir unwraps the painting she sent him. It is the portrait she was working on in the first scene. The lights go out while Amir contemplates the painting.
