Prometheus was really not a particularly important cult figure in much of the Greek world--his fame rests mostly in the fascination of poets, which was embraced in the Renaissance. By and large iconography of Prometheus is mostly that of his punishment or his rescue by Hercules--not until the 5th Century do we see depictions of his handing over of fire to the satyrs (only one vase exists where he hands over fire to men, from the Roman Period), and only in the Hellenistic Period do we see him creating Man. Among the poets Prometheus has something of a rocky relationship. Hesiod thought of him as a traitor, liar, and cheat who was justly punished for his arrogance in tricking Zeus during sacrifice and for his theft. A more sympathetic Prometheus first appeared in the Prometheus Bound, where Prometheus is depicted as a tragic prophet and benefactor of mankind and the arts, who is the victim of Zeus--Aeschylus (or Pseudo-Aeschylus) also changed Prometheus' lineage from what Hesiod had, making him of the generation of Cronus and thus technically higher in status than Zeus, thereby making Zeus' injustice even worse. The 5th Century view of Prometheus is not necessarily typified by the Prometheus Bound, though--in Aristophanes' Prometheus is a trickster and an open rebel, and is comically sneaky, not unlike Lucian's depiction of Prometheus in the Roman Period as a comically weaselly sophist who twists words and is able to actually argue that his three crimes (tricking Zeus at sacrifice, creating Man, and stealing fire) never actually happened--he supports his logic with quotations from Homer and Hesiod and is very witty with his words. Still, something of Aeschylus' Prometheus was influential--Plato's Protagoras argues that Prometheus was not a rebel at all, but took fire and reason to men from Athena and Hephaestus (whose cults his was related to--Euripides has Prometheus, not Hephaestus, split Zeus' head to release the infant Athena) because he was instructed by the gods to make all life special. Plato is also the first to have Prometheus give the animals all their special attributes, which was expanded by later Hellenistic and Roman authors into actually creating the animals, and then later men as well. In the Philebus Plato even has Prometheus' gift of fire become not a theft, but an actual order from the gods, and in the Politicus Prometheus actually owns fire, and thus his gift has nothing to do with Zeus! Plato's opinion of Prometheus as a benefactor of reason to mankind is further solidified by the claim in the Gorgias that Prometheus removed men's knowledge of their own deaths (at Zeus' order) to make them morally good.

Tickling out the view of all Hellenistic Greeks is pretty difficult, though. What Tom, Dick, and Harry thought about Prometheus in any part of the enormous Hellenistic Greek world is something that we really can't answer--apart from iconography and cult locations and practices we have no basis on which to make any argument. The general trend among Greek authors was to make Prometheus less and less like Hesiod's arrogant traitor and more into a benefactor of mankind, but such a blanket statement is not entirely true--Lucian, for example, in the Roman Period thought of Prometheus' deception as comic. The Hellenistic poet Apollonius Rhodius seems to have little opinion on Prometheus, except that he was in extreme pain, although he mentions that Medea had a drug to make a man invincible that was made from a plant that grew from where Prometheus' blood pooled. Fragments of Callimachus, the Hellenistic elegaic poet, talk of Prometheus' creation of the animals and men out of clay as if it's obvious, although I don't really understand what he's getting at--one of the fragments calls Zeus unjust, not because of anything that he did to Prometheus or men, but because he took speech away from the animals. Not really sure what the big deal is there, but ok. Callimachus' Fragment 551 refers to Prometheus as the "guardian" (κηδεμών) of men, so already by Callimachus' time the (at least artistic) idea of Prometheus as being not just mankind's benefactor but actually their protector (κηδεμών is derived from a term relating to the protection and fulfillment of a duty) was apparently widespread enough for him to say that.

Prometheus could be a recipient of sacrifices like other heroic cults - Pausanias (1.30.2) mentions an altar to Prometheus in the Athenian Academy, as well as an associated torch race seemingly in his honour.

But this didn't challenge a view of Zeus - if anything, the basic storyline reaffirms Zeus' power and the poets play with whether this was 'justice' in much the same way as with many Greek myths. Prometheus mirrors the portrayals of Heracles in many ways too, spanning comedic and tragic roles depending on the genre/message.