The old standby is to treat the last link in the chain as a deceptive cadence, i.e., V-vi or V-♭VI. It's an old chestnut, but very effective at breaking the pattern and keep things moving at the same time. Other landings are possible - Bach used ♭II6 to usher in the coda of the fugue of BWV 582.
If you're really feeling sneaky, you can break out earlier than the V-I link (effective the 2nd time you use the thematic material), or you can overextend the sequence before breaking out. (Breaking out at either ii or IV is a doddle - just follow up with V-I or a half-cadence.)
Edit: ii-V-I or ii-V is, of course, part of the cycle, but, as cadential formulae in their own right, they can be treated as such, i.e., rhythmically altered to play up their cadential nature. (I don't think that the use of rhythm to break out of sequences of any sort can be overstated. Lengthen or shorten a chord, or even a note, and you will have forced the weight of the sequential phrase onto a different beat, which means that you can change the significance of the phrase.)