Some composers used to feel that, in music that changed its metre frequently, a consistent time signature would help the performers. The example that comes to my mind first is the sonata for trumpet and piano by Kent Kennan - because he wrote it with a consistent time signature, despite all the changes that were actually happening. In a second edition, he changed his mind and wrote a new key signature wherever it made sense. (The second edition is now the only one available, so you can't compare them side-by-side unless you know where to borrow the first ed.)
I don't know whether the first edition of that piece has any triplets over the bar line - just pointing out that it would be possible, although not usually advisable.
Another possible place for this sort of thing is in music with unevenly-grouped eighths (7:4, etc) where some composers use the beams to make the melodic groups clear.
David
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