Studio Monitors

 
I probably wouldn't have any expectations unless I knew more. 
 
The attempt, at least, with monitors is to show every wart or good point about a mix,and to present the parts of a mix which will have good transfer across the largest number of systems. Even this depends on your mixing environment. I think Daniel covered it pretty well. The question isn't if a home/consumer level speaker will have a weakness,the question is which weakness will it have and how many. Fortunately most of these systems have a bass and treble control or slider to compensate for the worst parts.Music being subjective and ears being different this was the best compromise.
 
Monitors make a bigger attempt to convey what's really there, so they aren't likely to sound like anything you are accustomed to hearing in the home market. If you can make a mix sound good on those then it should sound good on most other systems providing the monitors are fairly accurate. Like Daniel says though, you can't trust some monitors. If the manufacturer is honest and we can trust their Frequency curve charts , it gives a little insight into possible weaknesses with any given speaker. I went through a learning process with my monitors until I figured out how to mix with them. Trial/error and listening through other systems with the same mix, until I started to get what needed to happen down. My monitors are far from accurate. 
 

One point I wanted to reinforce is that a great, accurate monitor in a dedicated space like a mastering studio will sound anything but sterile.  The more honest detail you hear, the more exciting the music tends to be, and the easier it will be to work with.  (The same argument does not really apply to microphones and preamps in my experience).
 
High end audiophile monitors themselves will also not sound colored.  Most of that color comes from the hype of tube amplification, but the speakers are perfectly natural.  You don't really see tube amps in the mastering world for that reason.  Discreet class A or AB Mosfet amps tend to be the weapon of choice because they offer the lowest distortion.  There are some newer class D designs like Hypex Ncore that look very promising as well.  
 
One trouble with a good sound system, however.  MP3's may no longer cut it for you.  I remember listening in my studio to a recording I was particularly proud of in the 24bit session.  I then immediately listened to the mp3 of the same thing.  The sudden loss of detail made me physically nauseous.  Like I had just eaten 3 McDonalds cheeseburgers.  I would never be able to hear that loss of resolution on consumer speakers or headphones.     

I guess it would be fair to say that if you have the opportunity to place a really good audiophile system in your studio, along side the studio monitors, with the ability to A/B the two monitoring systems, you should do so.
 
I have seen many pictures of some really nice studios and it appears that they have multiple monitoring systems available to them, which would then reduce the need to audition the mixes in another room on another system...say your home studio or car stereo. Although it would be fair to say that your living room and car are not acoustically treated.