In the mid 1970s, Alfaro began to create sculptures whose forms acquired a quality transcending the underlying experimental intention, endowing them with neo-constructivist references and kinetic elements that coexist with symbolic and figurative elements yet without belying their abstract appearance.

These sculptures are inflected with references to cultural and social issues, for Alfaro was always fully engaged with the society he lived in and also expressed his beliefs in democracy and freedom and his nationalistic concerns.

His work, halfway between sentient perception and abstraction, was invariably anchored to life. He was capable of taking any circumstance or experience and translating it into sculpture. More than once, Alfaro claimed that he had always been interested in the dialectics between simple form and communication, in conveying a concept, idea or character to the beholder.

In El Olimpo de Weimar the artist pays tribute to Goethe, to whom he would dedicate a whole series some years later. His admiration for the German poet is explained by the fact that, although coming from different historical periods, both shared the ideal of individual freedom.