The facade of the Whitney Museum became an unsanctioned billboard over the weekend, as artist Michele Pred beamed the declaration I am Jane Doe onto the building without the institution's permission. The guerrilla projection is the latest installment in Pred's ongoing Projecting Democracy series, and responds to the Cornell 7 case, in which one woman's lawsuit has triggered a flood of online solidarity statements aimed at protecting her identity. Pred's light messages carried several layers. Alongside the central declaration, she projected 7 men. 0 charges and we the people vote — and, pointedly given the venue, fair pay for Whitney union workers. The labor message landed at a charged moment: the museum's union had pledged to walk out this week if no new contract was reached ahead of the opening of the institution's Roy Lichtenstein retrospective. That gamble paid off. The Whitney union subsequently secured raises of at least 14.75 percent across the board over four years, along with a new minimum wage of 26 dollars an hour for front-of-house and retail staff. Read in hindsight, Pred's projection looks like an early victory banner for a negotiation that ended in the workers' favor. The museum, which opens its Lichtenstein exhibition this week, has not publicly addressed the unauthorized use of its facade. The action extends a long tradition of artists treating museum architecture itself as a medium of protest, from banner drops to building-scale light works. For Pred, the Cornell 7 case raises the question of who controls the narrative around alleged abuse — and her answer, written in light across a museum wall, is that the public should have the final word.