Against the backdrop of gender-specific and institution-critical approaches, a further thematic priority of Sollfrank’s work lies in the creation of forms of organisation (collective, network, collaboration) and communication structures as artistic practices. She was founding member of the collectives frauen-und-technik (Women and Technology, 1992) and -Innen (1994) and initiated and run the world-wide cyberfeminist network Old Boys Network (1997-2001), including the co-organisation of three international conferences on Cyberfeminism (1997, 1999, and 2001). Sollfrank also published the readers first Cyberfeminist International (1988) and next Cyberfeminist International (1999). In her project Female Extension (1997) – the hack of the first competition on net.art run by a museum – Sollfrank flooded the museum with 300 virtual, female net.artists. In 1999/2000 Sollfrank produced a series of works on the topic of Women Hackers. Since 2006, Sollfrank re-enacts early feminist performance art in her series revisiting feminist art. With her conceptual music piece Improved Tele-vision (2001/2011) she immodestly inscribed herself in the genealogy of avant-garde artists such as Arnold Schönberg, Nam June Paik and Dieter Roth.
Whilst Sollfrank maintains an active international practice, she also works to support the development of critical Internet culture in Germany. She founded [echo] – the mailing list for art, criticism and cultural politics in Hamburg (2003) and was co-founder and editor of the online magazine for art and criticism THE THING Hamburg (2006). In 2005/06, she conceived the culture-political intervention Tamm-Tamm–Artists informing Politicians involving more than 100 artists, based on a dialogical principle.
In 2004, the artist monograph Cornelia Sollfrank - net.art generator has been published by Verlag für Moderne Kunst Nürnberg.
In 2009, he artist monograph Expanded ORIGINAL has been published by Hatje Cantz.