This paper, based on Deleuze's theory of the fold, deals with the infinite folds inSimon Hantaï's paintings created after 1960. By analyzing how they will be broughtto the metamorphosis, the heterogenous and heteromorphic becoming, and how thetime and the space which they create will be brought to unlimited time and immensespace, this paper aims to investigate how Hantaï's paintings composed of infinitefolds of matter are able to capture the highest value in Deleuze's philosophy- theartwork escapes established thinking and fixed limits, and transforms theunthought- the labyrinth that enables the viewers’ thought to reach the impossibilityof thinking, something new in a time to come, and to think otherwise in the future.