個展結束後，從完整的藝術實踐過程中得到許多反饋。本質上其實創作成果的展示，是一段時期個人創作脈絡的彙整。其KPI可以包括：理念至藝術實踐的執行精準度、創造物的完成度、藝術品呈現方式給予受眾的體驗品質，以及在段考表現後個人創作脈絡的再梳理。

由於數位媒體的時代，先前於線上釋出的3支Reel短片，合計有超過3000次以上的瀏覽量，這個”受眾量”應該遠遠多於實體展場的觀眾。不過，實體展示的意義其實是藝術實踐的最後一哩路，或許就像open studio (閱兵/高裝檢) 一樣，能檢證、回顧創作者自己的家當/來時路。其二，雕塑的空間表現效果，或許透過”線下”實體的展現基礎，能更真實地被呈現在”線上”的世界。無論如何，在當代，所謂”線上”、”線下”的整合，其實都提供給受眾不同空間、時間條件的”閱讀”途徑。

After the solo exhibition, I received a lot of feedback from the complete artistic practice process. In essence, the display of creative achievements is a summary of personal creative context over a period of time. Its KPIs may include: the accuracy of execution from concept to artistic practice, the completion of the creation, the quality of experience given to the audience by the way the artwork is presented, and the re-sorting of personal creative context after the performance of the exhibition.

Due to the era of digital media, the three short reels previously released online have a total of more than 3,000 views, and this “audience” should be far greater than the audience at the exhibition. However, the significance of physical exhibition is actually the last mile of artistic practice, perhaps just like the open studio, it can verify and review the creator’s own belongings/past. Secondly, the spatial performance effect of sculpture may be more realistically presented in the “online” world through the “offline” entity display foundation. In any case, in contemporary times, the so-called “online” and “offline” integration actually provides audiences with “reading” channels under different spatial and temporal conditions.