In the wet darkroom days, I preferred dry mounting, especially for fiber based B&W prints which usually did not dry flat. My framer did not like to dry mount my work, as he recognized that mounting the print was irreversible, and no museum would ever do that. But I found the wavy look of other mounting techniques unsettling. These days, seeing surface variations in a print is a mark of analog chic, and lends an air of authenticity and uniqueness that I have warmed to. In the digital age, the paper is nice and flat, and I no longer see any reason to dry mount.
I have a collection of traditional darkroom prints which are dry mounted and matted, and stored in Solander boxes. The mats are in a few standardized sizes, which allowed me to rotate the pieces into frames for display. Storage of these collections has become an issue. One prime benefit of my digital approach is that prints are stored in archival boxes without mount or mat. I have a set of standard window mats with corner mounts, which allows me to rotate images easily while minimizing storage requirements.