In 1935, Taylor returned to live in Washington DC, and moved again shortly in 1936 across the Potomac in Virginia and remained there until 1954. In 1936, he traveled to the Virgin Islands, which inspired watercolors, drawings and prints (nos. 50, 55, 56.) In 1940, he traveled to Mexico and worked on various prints, and went to Mexico once again in 1962. After those trips, Taylor found much work around the New England area. In 1958, he traveled west to New Mexico and Colorado to produce prints. From 1964-1969, Taylor visited Europe (Spain, Italy, France; later on the Low Countries and the British Isles; and Russia late in the decade.) Spain inspired several prints. In 1975, he visited Italy, Austria, Munich and Lugano. In 1985, he visited France and Denmark. In 1988, he traveled for the last time—visiting the west coast of France, Spain and Portugal. In 1934, after fellowships at the MacDowell Colony and at Yaddo, the MacBeth Gallery gave Taylor his first one-person exhibition in New York City. After returning to Washington, D.C., Taylor's work was included in exhibitions at the Corcoran Gallery, the Smithsonian Institution, the Baltimore Museum of Art and the Virginia Museum of Fine Arts in Richmond. He was represented by the Franz Bader Gallery in Washington, D.C., and by the Bethesda Art Gallery in Maryland. In 1942, Taylor was elected President of the Society of Washington Printmakers, a position he held for thirty-four years. In 1948 he was elected an associate of the prestigious National Academy of Design. Retrospective Print Exhibition in 1971 displayed 40 years of Taylor's work (54 prints), years 1931 through 1971. The exhibits at the Corcoran and Smithsonian are the only known permanent exhibits, although there may be extended exhibits. The collection measures 20.4 linear feet, dates from 1885 to 1991 (bulk dates 1908-1986) and documents the career of Prentiss Taylor. The collection consists primarily of subject and correspondence files, reflecting Prentiss' career as a lithographer and painter, his association with figures prominent in the Harlem Renaissance, his activities as president of the Society of Washington Printmakers and other art organizations, his work in art therapy treating mental illness, and his teaching position at American University. The subject files contain mostly correspondence, but many include photographs and printed material. Also included are biographical, financial, legal and printed material, several hundred photographs, notes and writings, sketchbooks, drawings and a few prints by Taylor, and scrapbooks dating from 1885-1956.