In 1926 she exhibited her work in a group show at Fondazione Palazzo Bricherasio with other fellow students, including Nella Marchesini, Daphne Mabel Maugham, Paola Levi-Montalcini and Lalla Romano.

"[5][2] Mori was the only woman to contribute to The Futurist Cookbook in 1932 with a recipe called "Italian Breasts in the Sun".

She was invited to the first National Futurist Exhibition in Rome in 1932, and soon after left Turin to return to live in Florence with her husband.

She became very involved with Aeropittura (Aeropainting), winning a Silver Medal for a triptych she exhibited in a 1932 Futurist Art Prize at Galleria Bardi in Rome.

In 1937 her work was included in the exhibition Les femmes artistes d’Europe at the Galerie nationale du Jeu de Paume in Paris, later to travel to the Metropolitan Museum of Art in New York.

[8] Towards the late 1930s, Mori became disenfranchised with the Futurist movement due to its enthusiasm for fascism – a position that made her the subject of heavy criticism from her contemporaries.

[2] After the end of the war, Mori moved back to Florence and returned to classical and natural themes, creating still-lifes, nudes, and masks.

In the following years Mori fundamentally retired from public life, only appearing sporadically at events such as exhibitions for women artists.