The problem I have with acrylic is that it needs special cleaners, special cloths, and also a lot of care in using them to avoid fine surface scratches. Rub it across the wrong thing when handling the finished piece and you'll have a big mark. Sometimes they can be polished out. With insufficient care the glazing can look pretty bad pretty fast. I don't trust that whoever ends up with a print is going to take that sort of care. When they don't it'll be my fault for using acrylic, not theirs for improper care. But what's best really depends on the properties that are important to you. Acrylic is very light, for instance.
Glass breaks, but the last time I broke any framed print glazing was 17 years ago. It was a small print and I thought the hanging wire was on a wall hook. It wasn't, and the print came crashing down on a tile floor. It broke the glass and wrecked the frame corner too. Before and since that event I framed hundreds of pieces from 11x14 to 30x40 inches using glass without any broken glazing. That's not to say it can't break, but in normal handling it just doesn't. That includes hauling the prints around to arts festivals and galleries. I've also shipped them by UPS and Fed Ex without issues. That makes me pretty tense but they have always arrived at their destination unbroken. Needless to say they need to be packed extremely well.
Cleaning regular glass takes no more care than cleaning a mirror or a window. OTOH Tru Vue Museum Glass has a coating that adores finger prints and shows them worse than acrylic or regular glass. Be careful to put the correct side toward the artwork. Cleaning it can be an exercise in frustration. "Touching up" a small smear can lead to a much bigger mess. IMO it's usually better to clean the entire piece using an ample amount of cleaning fluid, but that's not necessarily easy either. Like acrylic, museum glass needs a non-ammonia cleaner and microfiber cloth, but is much harder to clean than regular acrylic or glass. I have never used "Artglass" so I can't comment, but it's supposed to be easier to clean, have anti-reflective properties similar to Tru Vue Museum Glass, and either side can face the print.
Glass, including UV protective and Museum Glass, can easily be cut with simple hand tools. A roughly $10 (USD) cutter, $10 set of running pliers, and a $10 - $50 (depending on type and size) neoprene backed cutting guide (straight edge) is all one needs unless you are doing significant volume. Even then, I know a commercial framer who probably frames 5-10 pieces per day for 30+ years and she still uses these simple tools. I know another who does less volume but has all of the fancy wall-mounted equipment. The results are the same. Practice on a couple cheap pieces of regular glass when you start. You'll break a couple pieces but once you get a feel for it you'll probably never break a piece again. It seems intimidating at first but it's really dead simple. If you can buy larger sheets of glass by the box (typically 50 pounds) and cut them to size it can be surprisingly cheap. OTOH Museum glass is more than $10 per square foot. (Pardon my use of English units - they're just what I'm familiar with).
Get a decent mat cutter. You don't need to spend $1500 on one, but you'll regret getting a $300 version. C&H, Fletcher, are great. IMO the Logan 850 "Platinum Edge" at around $825 is fine for 4-ply, but I wouldn't recommend any other Logan model. All of these mat cutters will also cut (with no bevel) foam core. Be sure to use acid-free foam core (if you use foam core) and matting. Acid-fee matting can be fairly cheap (Crescent Select - alpha-cellulose) or fairly expensive (Crescent RagMat - cotton). There are other brands, but the acid free alpha cellulose is always cheaper than the cotton rag.