It is generally discouraged to repeat the same suspension too often (see a short summary here).
In this particular instance, if this involves perfect consonances (8ves and 5ths), Fux outright forbids it, giving the following example:
A good rule to follow is to "treat suspensions in fourth species the same way you would treat their intervals of resolution in first species" (this elegant wording I quote from here). Fux says the same thing later in his own work, specifically in the context of three part counterpoint, that "the suspension is nothing but a delaying of the note following" and that "the nature of consonances is not changed by the suspensions, it remains the same". Of course, such rules can have exceptions, and Fux states how this kind of progression is less objectionable if it involves fifths and is in the lower voices (where it is less noticeable to the ear), but for a counterpoint class, sticking to the essentials seems a better idea.