It's very subjective, but also psychological. The consensus here is that matte has a richer look, especially in deep saturated colours. Blacks can appear very deep on matte, despite recording a lower DMax. You can fall into a matte black , a gloss black is like a shiny wall. This is expecially so as prints get larger, say above 1m x1m. At these sizes the eye/mind sets it's black/white points on the work. An increasing amount of works are now displayed with no glass or floating between glass or acrylic and the back mount. Properly lit , any glass will not reflect light to the viewer , so becomes invisible . In this case the surface texture of the paper gains dominance.
Many of our artists come from traditional printmaking eg etching , gravure , wood cuts etc., and are comfortable with the matte surface of papers in this area. At the very high end are the handmade papers , which are all matte.
As a matter of interest 80-90% of all work printed here is on matte papers.
In the case of monochrome images with a very long tonal range there is a good case for lustre/gloss. The application of supercoats can be useful here to reduce ink reflection differentials common with such papers that can spoil the appearance by distracting attention.
Gloss is also used for hyper-real images, photographic or computer generated. Here the choice is more philosophical than subjective.