I think there are three different basic kinds of irritation being generated by the Issue 1 PDF thing at for godot, on the evidence of the comment boxes at Harriet, Ron's blog, the for godot site itself, and elsewhere.
1. The simplest kind: outrage that a) one's name has been used without one's permission, and b) that the work attributed to one is not really one's own. Many, though not all, of the people who respond in this way appear oblivious to the fact that the project was clearly intended, at least in part, to provoke just such a response. These are the people who will try to start a lawsuit, or at least bluster about it for a long time. They are, in essence, the butt of the joke.
2. Generic reactionary resistance to the stuntishness of the hoax, and its typification of a certain "conceptualist," or more broadly "avant-garde" trickster mentality perceived as frivolous and contemptible. This response is not limited, moreover, to "mainstream" types; many so-called "experimental" poets are every bit as reactive in this regard, if not more so. One aspect of this response can be seen in a charitable light: as a protest of the way in which the experiment seems meant to produce the first kind of irritation, making the people who object on that level look foolish. The implied objection here is that it's just not very nice. In its most bullying form, this response plays a larger social-conscience card: "How can these idiots waste so much time on such a stupid, pointless joke when the nation/globe is in a dire state of crisis?" This criticism could be leveled just as intelligibly at poetry in general, of course, or for that matter at things like going to movies, eating ice cream, having sex, vacuuming the carpet, or playing with one's cat.
3. The anxiety induced by the pressure of worrying over whether one's response to the project will be perceived as naive, kneejerk, banal, or otherwise uncool. This blogpost could be taken as a case in point: notice how I have avoided, and will continue to avoid throughout the remainder of the post, any direct statement concerning my own individual feelings about the project. Notice too how I am attempting the preemptive social maneuver of formulating an inclusive social theory of the hoax that anticipates and defuses as many other responses as I can imagine. Undoubtedly, someone else will come along and trump me in some way, under much the same pressure. I take this to be a characteristic pathology of artistic/intellectual community on the web: the constant panic over whether one is presenting oneself in the most sophisticated and even-handed light, and whether someone else has outdone one in this regard.