Nice, I like this exercise, it's a part of the gentle introduction to counterpoint that is scattered throughout the Sor studies.
If you would like more of that, look at Op. 44 nos. 3, 4 and 15, those are very good too.
When I play this one, I prefer to play the lower voice notes in measure 2 (and similar for later measures) with the thumb. And maybe give that line a little more oomph (careful though, not too much) to really emphasize that it's a call and response between two voices. I know that goes against some modern guitarists who believe we shouldn't use the thumb on the first three strings, but in Sor's music, use of the thumb can be important for this sort of thing.
I played this in a one-off lesson with a teacher in a workshop and she asked to play it as a duet where I would take one voice and she would take the other, and I have to say that exercise really opened my ears to that idea. When I went back to playing it by myself after that, I found immediate results in how I would play that passage.
So now when I play something like this I want it to sound as close as possible to two separate guitars playing, as difficult as that may be to really achieve. If you have any guitar buddies around, give the duet thing a try some time!