The further I get into this process, the more I think that the rejections are as important to my artistic growth as the programs themselves will be. This is the long game, and rejection is the norm. If you can keep making work in spite of serious disappointment, I think that's as valuable to your practice as a critique you might get from a graduate school professor. This isn't to be conciliatory or to diminish people's acceptances; everyone is working their asses off, and school is a wonderful opportunity. Just a reminder that rejection can also be part of your growth as an artist, an invitation to become legit AF and make art regardless of outcomes. In much more practical terms, applying also is a repeatable contest, not a one-time decree of who has a future and who doesn't. you are allowed to grow and reapply, or to grow and be an artist on a different path.
I also love this article, however twee:
I literally don't think I could afford applying to 100 things, but the past two years I've applied to 10 (residencies, shows, publications, whatever) each year, inspired by this article (perhaps embarrassingly). Got two acceptances in 2017 and three in 2018, and those were among my first applications. Not sure I would have had that yield if I didn't cast a frequent net.