I think it all depends on what you want to hear, the psychological implications that has on how you play, and the overall result both for the FOH mix, a monitor mix, or a mix of a recording.
With a modeller, we are simulating reality. We can simulate the whole reality (modelled amp, cab, close mic and room mic), or any combination of simulated reality and reality itself (eg real amp, load box into IRs, or modelled preamp into real power amp and real cab etc).
If you want to hear the amp in the room sound, that's probably because the acoustic environment you're playing in calls for your ears to want to hear it...ie if your sound is being mixed with other sounds that also sound like they're in a room.
Being a performing musican and also an FOH or monitor engineer really helps you understand this in each possible scenario.
If you're on IEMs and all guitars are direct with just drums and vocals being the only acoustically audible sources on a stage, then you'll probably want to hear a close mic IR and room mic IR (ideally in stereo) so that your ears can mix what they hear from the drums in the room with the simulated room for your guitar.
Or let's say you're running a modeller into a full range cab without IEMs. How that will sound to you will also really depend on how it mixes with everything else on stage. For example, an FR cab on stage might mix better with a DI'd drum machine for an electronic production where no acoustic drums are audible, whereas for a rock production, that FR cab might blend better with a monitor feed of close mic'd drums where the performer is on huge stage and very far away from the acoustic drums.
Something that becomes very obvious for FOH is how a "reality mismatch" can work against the overall impact of a mix. A classic example is where you have a band with real amps on stage pushing air, plus a backing track that contains pre-recorded guitars that are already processed from the mix they came from. Blending those recorded guitars with the live guitars through cabs never quite works because they sound like they're coming from somewhere else, and not the stage itself. Much better to get DI's of those recorded guitars and run them out to a real amp on stage so that they are pushing the same air as the live guitars.
If all the live guitars are direct however, then the recorded guitars will sound like they're coming from the same place and the guitar mix will be more cohesive.
Something i find amusing in the FOH engineer world is this trend of asking guitarists to turn down more and more. This is of course genre dependent, but for rock music, a good understanding of FOH mixing as a form of sound reinforcement should guide that engineer and the band to balance the amps to the acoustic (un mic'd) drums and the vocals coming through the monitors, with FOH turned off. If the music is arranged well so that the vocal range of the singer can sit well with the band, then those amps should be set to a loudness where they have a pleasing, cranked tone and response, but don't drown out the acoustic drums. So here, the amp in the room sound actually becomes a mixing tool for both monitor and foh mix, because if the amp sounds good and balanced in the room with the drums in the room, the mixes will be so much easier. Every time i've mixed bands that are balanced before the PA is switched on, the mix always mixes itself.
For recording, wanting the amp in the room sound or not really depends on the sonic aesthetic you're going for. You might want everything to sound tight and claustrophobic, so not having any room sound might work well if the drums are also super dry without any room mics. For tracking with a modeller, feeling like you're pushing air might make you play better.
Apart from the feeling of pushing air, the amp in the room sound is also a major factor in the overall tone itself. The midrange you hear at room mic distance from an amp is totally different to the midrange response of a close mic.
Another interesting way to look at the amp in the room sound is to think about how visuals can be manipulated with augmented reality or projection mapping. So, for example, you could have an acoustically very dead stage where a real amp and cab might end up sounding too isolated, so you would then want to project the sensation of a different acoustic space onto that dead stage, hence the need for either a fully simulated amp in the room sound, or perhaps a combination of the real amp and cab close mic'd plus a room IR blended into the on stage monitoring.
The best way to find out if you want the real thing or a simulation of an amp in the room is to be in the room, run a real amp into a cab and also a loadbox into an IR and into a full range cab, and toggle between either the traditional cab or the full range cab. Whichever of these sounds best in the context you're in should give you the answer you're looking for.
