Prints are shipped rolled, mounted as flats to be framed, or finished Lumachrome Acrylics ready to hang.
Traditional prints are mounted, matted, and framed. Hinge mounts are OK for small prints, but dry mounting to a high quality rigid substrate for framing is advisable. Otherwise, the print will not lie flat. Hinge mounting allows removal of the print to another mount while dry mounting is permanent. While I occasionally hinge mount prints for my own use, dry mounted prints give a better presentation. However, the print is not removable from the substrate.
In larger art markets prints are sent to a specialized shop that mounts them. The print goes to a framing shop and is matted and framed.  A typical framing shop can ruin a print attempting to dry mount it. The more knowledgeable shops will not even try to dry mount high gloss prints, but will competently frame your mounted print. A workspace that is not dust free will produce bumps in the print that can be seen across the room. Mounts need to be done in a clean environment.
My default media are satin photo paper and matte or satin fine art papers. These are less susceptible to damage when mounting, though certainly not immune. Do you have access to a shop that can competently dry mount prints? Shipping a mounted print to a framing shop is a good option.

Handling prints requires judgement and experience to avoid damaging them – handling mounted prints marginally less. It is crucial to keep fingerprints and dirt off the print, and it should be unnecessary to say avoid scratches or liquid spills. Because a print is mounted does not mean it can be picked up by a corner, like a plate, without damage. Dibond is great material but susceptible to this type of bending damage, Ultraboard less so as well as being lighter and less costly.

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