本文主要從德勒茲的摺曲觀，探討西蒙‧翁泰1960年以後畫作的物質摺曲。透過分析西蒙‧翁泰1960年以後畫作的物質摺曲如何被帶往態變，異質和異形的流變，以及它們所創造的時間和空間如何被帶往時間的無界限和空間的無邊境。筆者企圖思考由物質摺曲所組構的翁泰畫作，如何可能擁有德勒茲賦予的最高價值：藝術作品逃離既定的思想、逃離凝固的界限，轉變為使觀者思想抵達思考的不可能、抵達將至時間的嶄新之物、抵達未來另類思考的不可思考者—迷宮。

This paper, based on Deleuze’s theory of the fold, deals with the infinite folds in Simon Hantaï’s paintings created after 1960. By analyzing how they will be brought to the metamorphosis, the heterogenous and heteromorphic becoming, and how the time and the space which they create will be brought to the unlimited time and the immense space, this paper aims to investigate how Hantaï’s paintings composed by the infinite folds of matter are possible to capture the highest value in Deleuze’s philosophy—the artwork escapes the established thinking and fixed limit, and transform the unthought—the labyrinth that enables the viewers’ thought to reach the impossibility of thinking, something new in a time to come and think otherwise in the future.