We can go round and round about this subject. So let's not. Best I can offer is a couple anecdotes, then I'll leave the room.
In the late 50's I mounted several silver paper prints to wildly non-archival Crescent matte board. Because nobody new how to spell Archival then. At my teacher's insistence I dutifully did separate drying and then attachment presses. Those pieces are still perfectly attached, thanks in no doubt to the de-humidifying steps which is the secret of long lived dry mounting. The acidic mount board is turning yellow but so far 54 years down the road the layer of tissue seems to be acting like a barrier, which considering the images may or may not be a good thing.
OTOH, have not had happy experiences with adhesive mounting, with many failures and defects in the range of just a few years. Will not burden you with my woes in that regard.
And yeah, hinge or corner mounting is chemically archival, but they allow anything but the smallest vertically mounted prints to warp in the range of a few months to years.
So what's a framer to do? Hint...a fair number of folks with non-mounted prints in a frame go sort of crazy as they watch their prints slowly curl and warp as the months and years tick by. So they take them to framer to be "flattened" as by dry mounting, and framah is my witness. Personally, I no longer drymount, adhesive mount, or engage in any form of hinge mounting.
And persons wishing their work to last forever should work in chalk pastels on gold panels, and store their art in deep, dark caves under a pyramid with only neutrinos for company. Because for pieces of Art, the price of Admiration is Death.