Two Critics, One Life: Art, Love and the New York Scene

Roberta Smith and Jerry Saltz are two of the most respected voices in art criticism, yet their lives seem to belong to a different world than most people imagine. They are married, and both spend almost every moment thinking about art, writing about it, and attending shows. Their days are filled with gallery openings, coffee, and the quiet rhythm of their shared apartment in Greenwich Village.

The film House of Criticism shows them as more than just critics. It presents a glimpse into how their relationship works: Roberta, who has written for the New York Times since 1988, is often seen as the more refined of the pair. She can be stern when she needs to be, but she also shows vulnerability and a need for reassurance. Jerry, who has written for New York Magazine and won a Pulitzer in 2018, is more outspoken and energetic. He keeps the balance by praising Roberta’s concise style while still believing he can write better.

Their love for art is almost religious. Jerry once compared Picasso’s Les Demoiselles d’Avignon to a moment of cultural collapse, saying that the painting shattered old ideas and opened new ones. Roberta calls art “the most advanced operating system” that lets us explore our own consciousness. These ideas give the film a poetic tone, even as it occasionally pokes fun at the art world’s insularity.

Both critics have no children and almost no hobbies outside of their work. They attend 20–30 exhibitions each week, rarely leave their apartment, and keep their meals simple—Jerry drinks cold coffee from a 7‑11 cup and eats grilled chicken from a local supermarket. Their lifestyle is described by Jerry as that of “happy losers,” and their home is dubbed the house built by criticism.

The film also touches on deeper personal histories. Roberta grew up in Kansas before moving to New York, while Jerry’s mother died when he was ten. He recalls a moment at the Art Institute of Chicago that sparked his passion for art, even though he once worked as a truck driver transporting paintings. These backstories show how both men turned personal pain into professional purpose.

Their partnership is a collaboration rather than competition. When they review the same show, they challenge each other’s ideas instead of fighting over who is better. Jerry often tells Roberta that she is the “superior critic,” a compliment that keeps their dynamic in balance. Their mutual support is also evident when Roberta announces her retirement from the Times, and Jerry affirms that they are each other’s infrastructure.

The film ends with a conversation about identity after retirement, showing how their shared love of art anchors them. Their story highlights the disappearing culture of passionate New York critics and suggests that criticism can be both judgment and exploration, bringing people closer to life.