In order to execute her project The Hotel (1981), she was hired as a chambermaid at a hotel in Venice where she was able to explore the writings and objects of the hotel guests. Insight into her process and its resulting aesthetic can be gained through her account of this project: "I spent one year to find the hotel, I spent three months going through the text and writing it, I spent three months going through the photographs, and I spent one day deciding it would be this size and this frame...it's the last thought in the process."
One of Calle's first projects to generate public controversy was Address Book (1983). The French daily newspaper Libération invited her to publish a series of 28 articles. Having recently found an address book on the street (which she photocopied and returned to its owner), she decided to call some of the telephone numbers in the book and speak with the people about its owner. To the transcripts of these conversations, Calle added photographs of the man's favorite activities, creating a portrait of a man she never met, by way of his acquaintances. The articles were published, but upon discovering them, the owner of the address book, a documentary filmmaker named Pierre Baudry, threatened to sue the artist for invasion of privacy. As Calle reports, the owner discovered a nude photograph of her, and demanded the newspaper publish it, in retaliation for what he perceived to be an unwelcome intrusion into his private life.
Calle asked writer and filmmaker Paul Auster to "invent a fictive character which I would attempt to resemble" and served as the model for the character Maria in Auster’s novel Leviathan (1992). This mingling of fact and fiction so intrigued Calle that she created the works of art created by the fictional character, which included a series of color-coordinated meals. These works are documented in her publication Double Game (1999).