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In addition to creating boxes and flat collages and making short art films, Cornell also kept a filing system of over 160 visual-documentary "dossiers" on themes that interested him;<ref>{{Cite web|url=http://www.tate.org.uk/research/publications/tate-papers/01/an-overflowing-a-richness-and-poetry-joseph-cornells-planet-set-and-giuditta-pasta|title=An 'overflowing, a richness & poetry': Joseph Cornell's Planet Set and Giuditta Pasta|language=en|access-date=2018-04-10|archive-url=https://web.archive.org/web/20180411025646/http://www.tate.org.uk/research/publications/tate-papers/01/an-overflowing-a-richness-and-poetry-joseph-cornells-planet-set-and-giuditta-pasta|archive-date=2018-04-11|url-status=live}}</ref>{{citation needed|date=October 2016}} the dossiers served as repositories from which Cornell drew material and inspiration for boxes like his "penny arcade" portrait of [[Lauren Bacall]]. He had no formal training in art, although he was extremely well-read and was conversant with the New York art scene from the 1940s through to the 1960s.{{citation needed|date=October 2016}}
His methodology is described in a monograph by [[
{{blockquote|Somewhere in the city of New York there are four or five still-unknown objects that belong together. Once together they'll make a work of art. That's Cornell's premise, his metaphysics, and his religion. ...<ref name="Dime-Store Alchemy" />{{rp|14}} [[Marcel Duchamp]] and [[John Cage]] use chance operation to get rid of the subjectivity of the artist. For Cornell it's the opposite. To submit to chance is to reveal the self and its obsessions.<ref name="Dime-Store Alchemy" />{{rp|61}}}}
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*''[[Bookstalls]]'' (1973)
*''[[By Night with Torch and Spear]]'' (1979)
==Exhibitions==
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