Currently, "immersive exhibitions" are flourishing in the field of art and cultural heritage. If defined based on curatorial ideas and technological applications, it is not difficult to see that these exhibitions strive to break the traditional "viewing" mode, using technological devices and digital media to immerse viewers in their works. The rise of "immersive art" is generally believed to be influenced by phenomenology represented by French philosopher Merleau Ponty, which emphasizes the "perception" that people obtain through personal experience over the universally effective "cognition". Merleau Ponty once used "honey" as a metaphor: only through the ability to perceive and interact with "honey" can people experience the "sweetness", "softness", and "adhesion" unique to "honey". Theoretical cognition can reveal "sweetness" or "viscosity", but it cannot "pull" people into that unique and rich feeling. In his view, appreciating art is also like this: "Art is also something to see and listen to, and any definition and analysis of art cannot replace my direct perception and experience of this art." Therefore, if we define "immersive exhibitions" from this perspective, such exhibitions aim to create an immersive environment, allowing viewers to better mobilize their perceptual abilities to explore art and generate rich and unique feelings. 1 ° 2 ° 3 ° 4 ° (Immersive Art Exhibition) Robert Irving. In fact, a group of earlier "immersive art" attempts adhered to this idea, which began in the 1960s and 1970s and matured in the 1990s. As for one of the works, three "holes" were removed from the window of the San Diego Museum of Contemporary Art in the United States, which opened the museum to the coast, allowing visitors to directly feel the illumination and changes of light, the blowing of sea breeze, and the smell... Therefore, the museum space is connected to the entire coastline, becoming an entire environmental artwork that can be "immersed" and "felt". In recent years, the commercial potential of "immersive art" has been further explored: the 2020 report "Future Art Ecosystem" released by the Snake Gallery in London pointed out that using immersive art, artists may bypass traditional art intermediaries and sell tickets directly to the public. For traditional curators, immersive art eliminates the need for operators to pay expensive premiums for exhibits, and the replicability of new media allows such exhibitions to operate in multiple locations, thereby reducing the cost and risk of curating and transporting exhibits. However, "immersive exhibitions" have also been increasingly questioned, and some critics even believe that "immersive exhibitions are destroying art". In the eyes of these skeptics, some so-called "immersive art exhibitions" are becoming increasingly "rough" and "homogeneous". For example, a foreign critic once described a rough "Van Gogh Immersion Exhibition": "Aiming a low resolution projector at a blank canvas does not produce too much sensory stimulation... My favorite element among them is their" faithful reproduction "of" Van Gogh in Arles' Bedroom ". This is an" ambitious feat ", using two square meters of felt flooring and some that look like stealing from a prison cell."