[citation needed] Cordova was represented in the 2008 Whitney Biennial,[2] 2010 Museum of Modern Art/PS1 Greater New York exhibition,[3] an overview presentation of contemporary artists whose contributions to the arts have had a significant influence in society.

In 2011, Cordova was invited for his first one person museum exhibition in Europe, yawar mallku: royalty, abductions y exiles at La Conservera, Murcia, Spain[4] and also awarded the Joan Mitchell Foundation Grant.

[citation needed] "William Cordova's practice threads forward and back through time, tethering seemingly disparate relations to one another, and analyzing the echoes of history through the devices of their transmission.

His work speaks to 'excluded discourses, silenced radicalisms, and insurgent practices' and with this, suggests relationships between these past moments and our own, given that what circulates in public knowledge is always already an unfinished portrait of a culture.

"[19] "William Cordova does not simply give up, but diligently or perhaps doggedly, uses fund materials to offer a conceptual map to global relations that has no natural beginning or end, no fixed borders, no national allegiances.

His method is not strictly speaking a Foucauldian genealogy, but it shares a similar commitment to finding these uncommon histories, connections, and intersections frequently overlooked in the dominant discourse of government and school text books.

Having recently moved from Lima to Miami, the six-year-old found comfort in the sight of what he thought were familiar Peruvian cajón drums scattered on the streets, but which were in fact discarded speaker boxes.

"[21] "Much of Cordova’s work induces similarly uncanny interpretive spirals, abetted not by arbitrary Surrealist juxtapositions but the all-too-common strangeness of our own detritus and the too-often repressed histories they conceal.

"[22] "William Cordova, who comes to us by the way of the Incas, Jimi Hendrix and Miami Bass and, for oppositional sake, MTV and Yale, too, now operates in this Harlem game as cultural manufacturer of multiple self-possessed signposts (sic), less ethnographic or geographic than steatopygic.

He wants us to question lost relations, to listen into the emptiness, to consider the unsung circuits of influence and ideas that have made our survival possible, to become enamored once again of the sights and sounds of our path-making, and of the mystery of our continuing.

Themes that animate his installations, objects, and collages are intoned in the material dimensions of his work, along with undulating titles that refer to sound, occult secrets, warriors, ghosts, ancient architectures, folkloric music, textiles, and the landscape of Peru.

NY revisiting radicalism: Espacio Aglutinador, Havana, Cuba this one’s 4U (pa’ nosotros), Boston Center for the Arts, Boston, MA yawar malku, (royalty, abduction & exile) La Conservera, Murcia, Spain laberintos, Sikkema Jenkins & Co. New York, NY Drylongso (Pichqa Suyo) PS.1 Contemporary Art Center, Long Island, NY Rituals of Regard and Recollection, Macalester College, St. Paul, MN The Southern Center for Contemporary Arts (SECCA), Winston-Salem, NC Florida Prize, Orlando Museum, FL Monarchs, Bemis Center for Contemporary Arts, Omaha, NE Southern Accent, Nasher Museum, Durham, NC Site Santa Fe Biennial, Santa Fe, New Mexico Hook, Line and Sinker: Contemporary Drawings, Nevada Museum, NV The Storytellers, Stenerson Museum, Oslo, Norway It is What it Is.