On eating vomit and music criticism

Was I right or wrong in not liking the music of Pierre Boulez or Elliott Carter?  If, 50 years from now, Boulez and Carter are admired composers, constantly in the repertory, I was wrong. 
Harold C. Schonberg, "A Life of Listening," New York Times, 8 February 1981.
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I have known Schonberg's 'retirement piece' for a long time (it was reprinted in his book Facing the Music) but I still cannot make sense of the above quoted passage.  How can one be wrong in not liking a composer's style or specific works?  Factually wrong?  Morally?  Legally?  Medically?  None of these options make any sense to me.

No less puzzling than Schonberg's semantics is his reasoning.  He seems to think that the rightness of wrongness of one's liking or disliking something may depend on whether enough people have (or will have) the same or the opposite attitude toward that thing.  For the life of me I can't understand this either.

Just the facts, Johnny

... as Boulez ... became a cultural icon in both Europe and America, principally through his conducting, I became increasingly troubled by ... his dismissive attitude toward American music. Only Elliott Carter, the grand paterfamilias of American modernism, managed to squeeze through the infinitesimally small needle’s eye of Boulezian approval.
JOHN ADAMS, "John Adams on Boulez, a Composer Worth Wresting With", New York Times 26 November 2019 (italics mine).
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Some may say that the only troubling aspect of Boulez's "dismissive attitude toward American music" is that this attitude was well justified by the sorry state of American music in the 1970s.  Be that as it may, the concert program below shows that Carter was not the only American composer whose music Boulez liked enough to perform it during his tenure as Music Director of the New York Philharmonic.  One such American composer was Carter's good friend Roger Sessions whose Third Symphony was given its first New York performance by Boulez in March of 1976.  A few  years after leaving New York for Paris, Boulez said: "I personally would like to see more Sessions works performed [in Europe] as I did in New York"[1].

I do not reproach John Adams for including a certifiably false statement in his review of the recently published collection of Boulez's lectures.  Adams is a composer, not a musicologist or journalist.  The blame belongs to the editorial staff at (what's left of) the once respectable newspapers.  Having by now transformed journalism into a tool for Stalinist-Maoist re-education of the public, these corrupt and incompetent motherfuckers would rather count Greta Thunberg's pubic hair than make an effort to give their readers a truthful (or at least unbiased) account of anything, let alone of something as insignificant to most readers as the recent past of art music in America.