This is a decision that is fundamentally artistic or aesthetic, rather than technical per se. A lot of it hinges on how particular you are about a very specific look for your work. How devoted are you to eeking out that last 1%, when the vast majority of folks won't notice?
When it comes to OBA's, I can definitely see merit on both sides of the issue. Folks like Bill Atkinson and Joseph Holmes print on Epson Premium luster or semigloss, which definitely have OBA's, presumably because they consider the greater perceived brightness and dynamic range of resulting prints worth the possible trade-off in longevity. On the other hand, Henry Wilhelm has pointed out that OBA's definitely fade over time, which will result in a print's 'paper white' drifting toward a warmer color range, altering the overall color balance and appearance of the print. Wilhelm commented that if you went to great lengths carefully tuning the color balance of your print to perfection, the fugitive nature of precise color balance on papers using OBA's would negate your efforts down the road. Additionally, most glass used for framing, even plain window glass, substantially attentuates UV transmission. As a result, you'll lose most of the brightening effect of OBA's for prints framed behind glass.
I mostly use Hahnemuhle photo rag baryta, a 100% cotton rag paper with little or no OBA's, at least for work I care about. I'm reasonably confident that my prints will look the same at least during my lifetime. And if I'm spending the effort to make a large print, some kind of protection is mandatory. I find that the relatively minor shift in color (generally a very subtle cyan shift) with framing behind regular glass is almost unnoticeable, especially if the print is properly lit with a spot from above to avoid reflections. The various coatings and varnishes are less predictable, and at least to my eye have a greater impact on the print's appearance. I have large panoramics mounted on boards and laminated. They look great, but it definitely shifts them warmer and more saturated, to a greater extent than glass alters them.
Once you find a system that works, it makes sense to stop the perpetual experimentation and just make prints.