For what it's worth, here's the system I've been using for portfolio prints going back to black-and-white darkroom days. Back then I used Ilford Multigrade Double Weight.
~~Make a picture print, and make a pure black print. (That was a good way to get some use out of those prints I knew would be wrong as soon as put them in the developer. Just turned on the room light and blasted them to black.)
~~Finish the prints and dry them.
~~Then the nifty part. Dry mount the two prints together back-to-back, and trim them flush. The three thin layers bonded together make the finished piece nicely rigid and fairly durable, without making it too thick or heavy. Because it is symmetrical in cross-section, the final print stays flat as the humidity changes.
Best of all, the finished product gives the viewer/handler an uninterrupted view and feel of the paper surface.
Now I'm using the same system with inkjet papers. (Of course, economy dictates that I use a white backing sheet rather than black.) For a long time my color work has been on Epson Enhanced Matte. It's cheap, looks nice, and is easy to find, though it definitely scuffs. Lately I've been putting black-and-white on Innova Gloss-F, which I think is really beautiful.
Because they're delicate, I now hit both types of paper with Premier spray, which has reduced the scuffing and made the Innova feel less "scratchable". The prints are safer to handle but don't look much different. I do the spraying after mounting and trimming.
Now, I don't know whether this system will allow my prints to survive long enough to get hung in my retrospective at MOMA. The tissue or the heat from the press might create a nasty side-effect some day, but I haven't noticed any problem in pictures I mounted five years ago. Besides, these prints are for passing around and handling, not hanging or storing. And that's what I like best about this method: the pictures invite sharing and close viewing. MB