From the "Following the Light" of the Central Academy of Fine Arts to the "72 Transformations" of the China Academy of Art, from the "Integration of Art and Science" of the Tsinghua University Academy of Fine Arts to the "Open June" of the Sichuan Academy of Fine Arts... It is another graduation season this year, and the graduation exhibitions of major art schools have arrived as scheduled. They have all moved from universities to society, becoming public cultural spaces that bring visual beauty and resonance of ideas to all sectors of society. Originally, the graduation exhibition was just a normal teaching process, used to showcase students' learning achievements, test the effectiveness of teachers' teaching and the quality of school teaching. But in recent years, with the related topics of graduation exhibitions repeatedly trending, related works have frequently "gone viral", which has also attracted widespread attention and discussion. Behind the graduation exhibition's breakthrough, it not only reflects the profound changes in the interaction mode between contemporary art education and society, but also reflects the active exploration of universities' responsibility for public aesthetic education, and foreshadows the new possibilities of art education in the information age. Every year at the graduation exhibition, one can see eye-catching works, such as this year's graduation work from the China Academy of Art, "Dripping Instrument," which isomorphic water ripples with ancient compasses and attempted to cross disciplinary boundaries, meeting the aesthetic expectations of digital natives for the integration of technology and art; For example, the graduation work "Prayer" from Sichuan Academy of Fine Arts has a unique style and is known as the "Mona Lisa of Chongqing people"... These works showcase the creativity of young students and their unique understanding of the world. When young students no longer see traditional culture as a burden, but reinterpret cultural genes in a relaxed and profound way, graduation exhibitions become a laboratory for the creative transformation of excellent traditional Chinese culture within a certain scope. This creative direction not only reflects the cultural confidence of the younger generation, but also echoes the collective desire of today's society for "Chinese style aesthetics". Nowadays, many art schools demonstrate a strong willingness to be open and inclusive. For example, many universities cooperate with local art museums, exhibition halls and other urban cultural landmarks to expand graduation exhibitions into art carnivals that connect various sectors and spread throughout the city, becoming an active exploration of "sharing teaching achievements with society". In addition, some universities even proactively lower the threshold for appreciation and invite audiences from different backgrounds to participate in the process of artistic creation, rather than just facing completed works. This open and inclusive attitude reflects the repositioning of contemporary art education's role - art schools are not only the base and cradle for professional talent cultivation, but also active participants and contributors to social aesthetic education. When graduation exhibitions move from schools to cities, they go beyond simple academic assessments and become an important cultural bridge connecting schools and society. In the era of social media, the dissemination of art is no longer limited by physical space, time dimension, and professional barriers. A short video or image that can resonate and empathize can quickly become a "viral" work, allowing millions or even tens of millions of viewers to see it. Digital platforms not only expand the audience size, but also change the way art is accepted - audiences are no longer passive appreciators, but can become participants and even producers in connecting art works to society through likes, comments, shares, and other behaviors. This deeply participatory model breaks the traditional boundary between art and the public, making graduation exhibitions an important public cultural event. The graduation exhibition 'Leaving the Circle' inspires us that the value of art education lies not only in the inheritance of skills, but also in cultivating thinkers and creators who can engage in dialogue with society. In an era of scarce attention, the reason why graduation exhibitions can break through the barrier of information overload is that they can provide scarce emotional authenticity and intellectual impact. When the information cocoon objectively exists and commercial culture constantly invades the senses, young students use sincere and sharp expressions to create works that touch the soul. Art schools should pay attention to the deep driving force behind this phenomenon. While maintaining rigor, they should also further bridge the boundaries between art and technology, tradition and modernity, and college and society, making graduation exhibitions not only an annual cultural hotspot, but also an important force in promoting the continuous evolution of social aesthetics. Art has never existed in isolation, its vitality lies in resonance with the times. The graduation exhibition 'Breaking the Circle' inspires us that when the creators cultivated by art education can not only take root in professional soil but also keenly perceive social trends, inherit cultural genes and boldly innovate, maintain criticism and deep empathy, art works can step out of the ivory tower and head towards a broader sea of stars. In the dialogue between art education and public empathy, we not only see the popularity of graduation exhibitions as a cultural phenomenon, but also the possibility of art reshaping public life - and perhaps this is the most precious inspiration of these "breaking through boundaries" exhibitions. (New Society)