Starting in 1999, Land Mark is a series of projects that encompasses film, video, photography and performance pieces related to the Puerto Rican island of Vieques, which, for 60 years, was used by the United States for military operations, leading to a civil disobedience campaign waged by local residents.

Allora & Calzadilla interrogate the economic, cultural, and political markers that differentiate one area of land from another, and the processes of colonization and gentrification that come to define its changing status.

[6] The spatial investigations in Allora & Calzadilla's work are made in terms of what the artists call “the trace.” At once a poetic trope and a set of material operations, the trace links presence and absence, inscription and erasure, preservation and destruction, and appearance and disappearance.

Apotome (2013) stars singer Tim Storms, who holds the world record for producing the lowest note every recorded—only audible to the human ear with amplification.

As he wanders among taxidermied animals in subterranean storerooms of Paris's National History Museum he produces, according to critic Emily Nathan, "a deep, satanic rumble" which "seems to usher from his very core."

[12] For the 56th Biennale di Venezia, Allora & Calzadilla presented In the Midst of Things, a choral work with music by composer Gene Coleman based on Haydn’s oratorio The Creation (1796–98), whose original libretto drew on descriptions of the origins of the world and humankind from the Book of Psalms, the Book of Genesis and Milton's Paradise Lost (1667).

According to Dorothy Feaver, "the Voxnova Italia choir's physical movement through the Arsenale mimics their voices: they shift positions, facing each other, turning away, roaming through the space in low-key cotton clothes, epic but casual.

On September 8, 2010, the United States Bureau of Educational and Cultural Affairs (ECA) announced the selection of Allora & Calzadilla as the American representative at the 2011 Venice Biennale, a first for artists living in Puerto Rico.

In most of the pieces, the artists did away with subtlety in favor of a direct invocation of the imposing specter of American militarism, treating nationalism first and foremost as an aesthetic language that expresses itself through the military machine, ritualized bodies, and official architecture.

The installations and performances inside the pavilion further the artists’ investigations of “bio-power” and technology, deforming and repurposing bodies and materials in conjunctions that are at once ominous and comical.