I found the Blumenthal/Quinn film to be a very interesting documentary as an example of how to address the lives of two artists who happen to be married. Rather than further the stereotype of an “artist’s wife” in depicting Nancy Spero, I felt that the directors gave Spero agency. When she walked into the room, she had a presence. There was one scene when she entered the studio and Golub immediately asked her thoughts. She told him, and he listened. I think this was a very telling scene. In the 1950s, when the artist was regarded with masculine heroism, this sort of scene would not have been included in the film. Leon Golub deferred to her and her opinion. In the film, and apparently in their relationship, Spero is not subordinate to her male counterpart; they are both depicted as artists in their own right.
They say you are your own worst critic, but I wonder if this is true of married artists. One intriguing quote of Golub’s I came across was “When my wife’s career is doing better than mine I don’t feel as good about myself and may develop resentment.” Regardless, it is great, as you said, that the documentary manages to depict both as as artists in their own right.