I don’t think that there would be an issue in terms of appearance. At least with the acrylic gesso that I use (Liquitex professional), it is described (by Liquitex) as "Light-fast & Archival, Permanent and Non-Yellowing.)
I am not sure if an argument could be made in terms of paint film strength or integrity. I’ll do some digging.
The only issue that I would think might deserve some consideration is Support Induced Discoloration (SID.) However SID is a phenomenon that occurs with acrylic paints and mediums. Many common artist supports have impurities that can lead to discolorations but it seems that these impurities are brought to the surface with the use of water in regards to acrylics.
As an acrylic paint film dries, the water exits two ways: through the surface of the paint and through the back of the support, if porous enough. Canvas, linen, wood and Masonite are all porous enough to allow water to absorb into them. During this drying process, the water is actually in equilibrium moving back and forth between the acrylic paint and the support. The water extracts water-soluble impurities such as dirt, sap, starches, etc., from the support and deposits them into the acrylic film. The result is a discolored (typically amber) film, with the degree of discoloration dependent on the amount of contaminants deposited and the inherent level of impurities in the support.
According to Natural Pigments founder George O’Hanlon though–this is not a concern for oil painters as “SID is only an issue with acrylic paint applied over an acrylic ground or directly on wood and canvas. It is not an issue for oil paint whether or not the oil paint is on acrylic ground or not.”
So unless you are doing something on top of the gesso that might bring these impurities to the surface I wouldn’t think SID would be an issue. However, I thought I might mention it just in case.