In subsequent years, Prampolini became a key link between Italian artists and the international avant-garde. He met the poet Tristan Tzara in Rome in 1916, and took part in the international Dadaist exhibition in Zurich the same year. His international networks continued to expand as he founded and wrote for a succession of publications, including Avanscoperta (1916), Noi (1917), and Sic(1919), and organized exhibitions featuring his own work along with that of other Futurists and international avant-garde artists, such as a 1918 show at the Galleria dell'epoca in Rome, with work by Prampolini, Carrà, Giorgio de Chirico, and Ardengo Soffici. After extensive travel abroad in the early 1920s and an ongoing exchange of ideas with artists including Alexander Archipenko, Jean Arp, Marc Chagall, Albert Gleizes, and Vasily Kandinsky, Prampolini moved to Paris. He lived there from 1925 through 1937, associating with members of various artists' groups, including Der Sturm (The Storm) and the Section d'Or (Golden Section), as well as artists connected to the Bauhaus. In 1926 he exhibited at the Venice Biennale with the group Die Abstrakten (The Abstract Artists), and in 1930 he joined the Parisian group Cercle et Carré (Circle and Square). Shortly afterward he founded Gruppo 40 (Group 40) and became associated with Abstraction-Création (Abstraction-Creation), a loose movement formed to counteract the influence of Surrealism.

While continuing to paint and exhibit works that touched on stylistic elements of Futurism, Purism, and Surrealism, Prampolini simultaneously explored theater, dance, cinematography, and architecture. In 1925 he founded the dance company Teatro della Pantomima Futurista (Theater of Futurist Pantomine), probably as a response to Sergei Diaghilev's Ballets Russes (Russian Ballet) and Rolf de Maré's Ballets Suédois (Swedish Ballet); Prampolini himself served as the company's set and costume designer. Among his building designs were pavilions in Turin (1928) and Milan (for the Milan Triennial, 1933), and in 1934 he founded the architecturally focused magazine Stile Futurista. Toward the end of his life, Prampolini expanded into decorative work, including stained glass and mosaics for the Museo nazionale delle arti e tradizioni popolari, Rome, in 1940 to 1941, and for the Milan Triennial in 1954. During his lifetime he was the subject of a monographic exhibition at Galleria di Roma (1941), and posthumously exhibitions of his work have been presented by Galleria Narciso, Turin (1963); Galleria Civica, Modena, Italy (1978); Palazzo Comunale, Todi, Italy (1983); and Palazzo delle Esposizioni, Rome (1992).